“Love Life, Berlin’s second album, took over where 1982’s Pleasure Victim left off, with Terri Nunn’s vocals sounding a tad stronger in some places as well as some noticeable improvements on behalf of the synthesizers, but this improvement occurs sporadically, not consistently” (DeGagne).
“Their first chart single [was] the clean-cut dance-rock hybrid entitled No More Words” (DeGagne), which benefited from “Giorgio Moroder’s production help. Moroder lends his talents to another track, Dancing in Berlin, which emulates the same streamline formula of sharp keyboards and an animated dance pace” (DeGagne).
“Outside of these two singles, the rest of the songs on Love Life fail to harbor any distinction, and even Nunn’s forceful voice can’t raise their value. Efforts like When We Make Love, Touch, and For All Tomorrow’s Lies get lost in lukewarm techno-dance rhythms and cloned synth-driven beats. Berlin’s sexual innuendoes are much too contrived, wearing thin by the end of the album, as does their attempt at combining one part rock to nine parts drum machine and dance beat” (DeGagne).