The City and Horses play catchy indie pop, literate lo-fi folk, earnest country ballads, electro-sex dance, grunge rock and Mo-Town fop. The members of the band are adorable and can fit in your pocket.
Reviews for "I Don’t Want to Dream":
Time Out New York says, "The singer-songwriter behind the City and Horses refers to himself merely as Marc, hinting at the breezy informality of his indie-pop tunes. Unassuming as it might seem, though, the Brooklyn outfit’s debut, I Don’t Want to Dream, is both wise and disarmingly wistful."
The Sky Report says I Don't Want to Dream is full of "erudite pop songcraft that’s comfortable without coming off as overbearingly scholarly or too cute to handle, hot potato" and describes the sound as "Pastoral-punk" and "Nerdy-sexy-cool pop music."
Rawk Blog says, “'Little Finland' hits all the right notes: teddy bear lead guitar, wind instruments borrowed from Belle & Sebastian, and wistful lyrics about a girl who’s 'not innocent.' 'Oops, I Did It Again' this ain’t, but you may find yourself dancing anyway."
Indie Rock Cafe says, "The City and Horses is one of the bands to watch in 2009."
Another Form of Relief says "I Don't Want to Dream" is, "one of the most pleasant sounds of the year so far."
EarDrumsMusic says, I Don't Want to Dream is a "wonderful album" that's one of the best of 2009 so far.
Hypeful says that "the opening of 'I Love The Girls' has the kind of innocent and offbeat charm that would fit nicely into a Wes Anderson soundtrack."
Das Klienicum says something in German. Hopefully it's nice.
MP3Hugger.com says I Don’t Want to Dream is “a year round pleasure, a gentle stroll that’ll bring some order to your chaotic life. Take ‘I Love The Girls’ for example and realize that life’s simple pleasures has a brand new addition.”
In Big Takeover #63, Executive Editor Mick Lewis writes, “I Don’t Want to Dream [kicks] off in grand style with ‘A Thousand Lashes,’ a Kafka-esque curlicue on crimes of passion that is whipped with an irrepressible guitar riff, and visis twee indie pop in ‘Little Finland,’ early dB’s power pop on ‘Russian Military Badges,’ Belle & Sebastian-style self-analysis on the intersection between love and work on ‘Your Father’s Factory,’ and Eastern Bloc emigrants on the clever, charming, and catchy ‘I’ll Marry You (East Beats West).’ This is one City where you needn’t dream of perfect idiosyncratic pop; it’s yours for the taking. Giddy-up!”