State Radio
Year Of The Crow
Ruff Shod Records
By Kevin Hakansson
After making a splash with their debut Us Against the Crown in early 2006, it seemed that State Radio had picked up the baton from Dispatch, a band from whose ashes it rose. Coming nearly 4 years after the band’s initial formation, this debut record did what it’s Vermonter predecessors did best: reggae infused jamming that usually manifested itself in the form of what could otherwise be categorized as pop rock. However, State Radio’s sophomore album sees them expanding their palette a bit. While many jammy, reggae based tunes remain, they’re often augmented by loud, distorted, rambunctious sections that give Year of the Crow more of an edge than the band’s rookie release.
Right away, "Guantanamo" seems quite out of character for a band that had previously made their name off of smooth, clean melodies. Chad Urmston's guitar is distorted and dissonant, his voice angst-ridden. This one's choppy and sectioned, including a closing pseudo-breakdown that will leave those familiar with the band confused, to say the least.
The opener is by no means the only song that the band gives a previously uncharted treatment. "Unfortunates" if the first of several short, punk rock inspired tunes. It's anxious, rambunctious, and seemingly political, given Urmston's reference to the West Memphis Three. Later, "CIA" and "Gang of Thieves" start out as minor-chord driven, subdued ska/punk songs, before circle-pit instigating choruses make them considerably more chaotic.
Separate from the harder material that State Radio experiments with are several tunes that are classic Urmston, Dispatch's former lead vocalist/songwriter. "Barnstorming" starts as though it'll turn into another distorted fuck-you song, but quickly morphs into one of the record's most melodic songs. "Fight No More" features reggae/dub verses before an typically tuneful chorus. "Omar Bay" is a bluesy, vocal tune that puts the focus on the dynamic duo of Urmston's guitar and voice. There's very minimal instrumentation here for the most part, though an out of tune, honky tonk piano gives the song a rustic feel.
While there is little to no filler on Year of the Crow, there are a few tracks that stand out among the others. Early on, "The Story of Benjamin Darling, Pt. 1" is a lo-fi, sparse folksong that conjures images of the band singing the song around a campfire. As great of a melody maker as Urmston proves to be throughout the record, this is his finest work, his voice smooth and sensual. What really makes this song great is the use of keyboards and string that give the song a vaguely orchestral feel.
While we're on the subject of orchestral songs, there's "Rash of Robberies." This tune alternates between quick, rabble-rousing verses and quiet subdued choruses. These choruses feel a bit out of place until they manifest themselves into a several minute-long, uplifting outro that incorporates all sorts of instruments, a group of vocalists, and another of Urmston's catchy vocal lines.
When State Radio first appeared, it seemed as though they'd pick up where Dispatch left off, which, at the time, seemed good enough. But now, it seems that they've already surpassed expectations. Year of the Crow incorporates many of the reggae based pop songs that State Radio produced on their first record, but experiments with other sounds that one may not have seen coming. These new sounds make the band's second record versatile, consistently interesting, and outwardly promising.
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