The Enemy - Music For The People reviews
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| Guardian |
.jpg) These ambitious second albums represent the first salvo in what will be a long campaign: the struggle to make music that addresses the economic downturn and its disproportionate effect on youth. The most recent figures estimate that 1.5 million young men and women between 16 and 24 are unemployed: the highest figure for 15 years and rising.
This is a recipe for depression, frustration and anger, as a whole generation has been brought up in a materialistic, consumerist world that has now receded out of reach. In their different ways, both Gallows and the Enemy should be given credit for their prescience - both these records were recorded last year - and their willingness to engage with a recognisable social reality....full text |
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| Guardian |
| Stung by having been bracketed with the likes of the Pigeon Detectives, the Enemy are taking pains this time around to disassociate themselves from the landfill-indie bunch. Accordingly, the follow-up to their No 1 debut ramps up the volume and the politics - both so vehemently that what comes to mind is Rage Against the Machine and their proselytising ilk. So, mission accomplished, and fans must be revelling in the knowledge that the bulldozing single No Time for Tears, with its agitprop sentiment ("The morning after the revolution/ PC 1525 tells me there's no real solution"), is in this week's top 20. But there's no escaping the fact that a good chunk of Music for the People trundles along facelessly, unredeemed even by singer Tom Clarke's dedication to the cause. He can bellow about being born working class on the epic Silver Spoon, but that doesn't make it - or most of the rest - particularly interesting....full text |
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| Musicomh |
The patronizingly pompous title reflects the album's overblown and stodgy musical contents. Whereas the first album featured a whole raft of memorably spiky songs about urban dystopia, full of aggressive energy and punky passion, this one may still have some strong melodies and lucid lyrics but the sharp focus has been dissipated into a big booming sound inside which the songs rattle hollowly.
Frontman Tom Clarke has talked about reverting to a pre-digital 'back to basics' approach to recording, which is fine in theory, but the material here is just not good enough. Mike Crossey's turgid, string-rich production has the feel of early '70s classic rock, and the tracks seem to be straining self-importantly for anthemic status. Even the cover artwork is reminiscent of Pink Floyd's Dark Side Of The Moon....full text |
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