Albums by this artist

Gotham! (2003)

Radio 4

Gotham!

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» A.K. GOLD | STAFF WRITER

Radio 4 Gotham! Gern Blandsten, 2003 RiYL:

My least favorite part of writing record reviews is assigning a numerical value to represent the quality of the record. I've often nagged the editors of Nude As The News about this matter, requesting some sort of rubric, some sort of not completely subjective, entirely elastic system by which to determine if a record is horrible, fair, good, or a little piece of heaven. Despite my sporadic attempts, I've never been given the grading system I've so longed for and I remain left to my own devices when it comes time to pen a review. Usually, this means that the last thing that I do when I write is figure out the rating. Usually, but not in the case of Radio 4's latest release Gotham!

It's awfully daunting to know that Gotham! is a nearly flawless record first and then attempt to verbally convey why the hell that is the case. So little of the reasoning that goes into why this is an exceptional record has to do with the technical, describable musical elements of the album's contents. Sure, there is no doubt that Gerard Garone's keyboards, Greg Collins and P.J. O'Connor's deft percussion work, Anthony Roman's funky bass lines, and Tommy Williams' hook-driven, hyperactive guitars all combine with Roman and Williams' shout-sing vocals to form a unique sound which draws from the raw, anthemic energy of the Ramones and the Clash, the noisy funkiness of Gang of Four, and the layered rock intellect of Primal Scream.

But what is really so special about Gotham! is its infectiousness. Every song is worthy of a dance break like the one that follows the infamous in-school toke-up session in "The Breakfast Club." Molly Ringwald should be bobbing her head and stamping her feet in fits of ecstatic, tension-releasing joy to the sounds of songs like the album-opening "Our Town" or to the cries of "Save Your City" on the track of the same name. "Eyes Wide Open" is so catchy and hooky, so fuckin' danceable, that when Williams proclaims "Like Fred Astaire, walking on air," I know exactly what he means.

Dancing fills this record both implicitly and explicity. The album-closing track, filled with swooping samples, two-chord guitar parts, and the ever-funky rhythm section, is a three-minute burst of sonic energy called "New Disco." Without ever academically stating it, the song represents how dance rock has been both excavated and altered. It's no longer Buddy Holly or 1970s disco, it's no longer Britney Spears or the Basement Jaxx or Jay-Z, it's "New Disco": raw, energetic and born of punk and rock'n'roll. The new disco has appeared for a very specific and simple reason: "It sounds so good / It looks so good / It feels so good / It's all so good!" And if Gotham! proves anything, it's just how true that is.

A.K. GOLD | A.K. Gold lives in Washington, D.C., where she slaves away for a non-profit organization and constantly compares everything to New York City or Chicago. She's earned her "cred" as a college radio and pre-1960 country music DJ, committed indie label street teamer, sporadic zinemaker/contributor, retired mail-order filler and occasional freelance writer. From time to time, she publishes Anecdotal Evidence, a per zine that will some day be considered for the National Book Award, or possibly not. If you want to buy a copy, or desire to write to her for some other reason, email criticgirl@hotmail.com.