It’s no real wonder that practically every band putting out records in America right now seems hyper-politicised to the hilt, regardless of how blind cuddly their last offering was. Living under a near-totalitarian regime in denial does that kind of thing to a country’s liberally creative subjects. Radio 4 are already no strangers to such a movement, their 2002 breakthrough came in the form of a ridiculously danceable protest against NY mayor Rudy Giuliani’s zero-tolerance policy on various forms of fun in their home city, particularly the reigning in of dance ‘licences’ for clubs and bars. It was a theme that spread throughout their brilliantly tuned-in debut album ‘Gotham!’. These days though, localised liberty infringements must seem relative small fry considering the dark issues loping up to and way beyond their immediate horizons. “All around us and in between, politics like cancer,“ sing they on the hypnotisingly serious, Massive Attack-esque, ‘Guns Of Brixton’ aping ‘Nation’, “information in extremes, never find the answers“.
There is a difference with this album then. A difference in outlook and ultimately a difference in style too. ‘Gotham!’, though riddled with dissent was essentially a good-time record, a block rocking, party starting record. It danced because it could and should and would deal with the consequences later. The ambience suggests otherwise this time. It’s immediately a less spontaneous sounding record, less snotty, like they’re consciously mobilising, focusing their gaze on a single point. And with that the rough edges of their sound have been planed away, favouring a smoother, more electronic, bass driven impression. The funk remains fairly deep set, but the punk not so. The sharp Gang of Four edginess gives way to a more regimented New Order, and with that goes some of their initial appeal.
It’s more a public service announcement than a personal rant, a little sexless even. And though they’re recognisable they could be a new band for their replotted co-ordinates. But that shouldn’t undermine the almost hypodermic directness of many tracks. Opening track ‘Party Crashers’ sets a bar for the rest of the record, and given a techno pulse comes on exactly like a Paul Oakenfold and Happy Mondays collaboration on paper should sound like to the ears. And only slightly less exciting. ‘Transmission’ is so bright it’s practically the Pet Shop Boys, ‘FRA Type 1&2’ is Teutonic in its minimalism and ‘No Reaction’ is a fair representation of the album’s Depeche Mode influence. They do let themselves down on the single ‘Absolute Affirmation’ by sounding like the Manics trying to be modern. That aside, it’s a record with the production and technique to get you marching to their beat.