Entertainment is possibly the seminal post punk album, and defines the whole movement in its anger, technical ability and stunning originality. The politics and raw emotion were spread open in a sparse and well orchestrated entropy that has lead to a plethora of imitators. Just how many times has Andy Gill's sparse and almost dissonant guitar style been copied, and how many times has John King's poetic lyrical style been stolen and abused by the next political band? Everyone from Nirvana to Manic Street Preachers to Franz Ferdinand owe something to Entertainment.

While Gang of Four continued to do well, they steadily declined. In the same was as Richie Edwards' disappearance struck the knell for the Manics' best sounds, reforming in 1987 struck Gang of Four's. The later albums lost the relevance and the beautiful anarchy that surrounded tracks such as 'Damaged Goods' and 'Return The Gift' and replaced them with the synth molested sounds of 'Mall', and the boring overplayed tones of 'Shrinkwrapped'. The only positives that could be taken from this was the occasional good song ('Something 99' and 'I Parade Myself', for example) and the fact that at least they were progressing and trying something new, albeit that something didn't really work.

And so we reach the newest of these eras, their latest form. If 'Shrinkwrapped' was their midlife crisis, then this is them flicking through a scrapbook with their disinterested grandkid, reliving the exciting and vibrant polaroids and newspaper cuttings, now discoloured and yellowing from seeing too much light. This is an album constructed on old glories, mashing together everything that once made them great without thinking about what it will sound like. The Gang Of Four that got two separate singles banned from the BBC , the Gang Of Four that wrote 'Anthrax', the Gang Of Four that named themselves after Chinese communist radicals, are dead. Left in their space are men that have grown up and can't do anything about it. They've lost their relevance, and are fighting it tooth and nail.

Reforming can work, and reformed bands can still be as angry and relevant, take Swans for example. Michael Gira is older than both Gill and King, but instead of trying to recreate Swans; earlier sounds, he created something new with My Father!, something that was at once new and relevant, a new sound that took ages of perfection and ended taking the rawer sounds found in earlier works and maturing them, there's no less anger in My Father!, it's just been developed and evolved. However, Content plays more like Manic's Journal For Plague Lovers; it's a cold, irrelevant work by aging former geniuses trying to recreate what made them so interesting and relevant in their foundling years.

Opener 'She said' really exemplifies everything within the album. Building up with a softened take on their angular style, then collapsing into a mess of confused noise and guitar parts which builds up a song that is so overplayed and overproduced it would sound at home in The Matrix soundtrack. It's pop post punk, it's the overplayed, overproduced sound that's expected from While Lies or The Editors, complete with superfluous harmonies mumbled and blurred until it sounds like King's had a stroke at the mic. This isn't the proud product of one of the greatest and most influential bands of the 20th century.

'I Party All The Time' is perhaps the strongest track on the album. Its funky rhythm that builds up and ebbs is fantastic, the rhythm of it pitched well, but the detached nature of the vocals, the excessive vocal effects and the fact that it milks itself so much detract from any qualities the song had. It lasts about a minute and a half too long, this isn't the refined Gang Of Four that we know and love. On top of that, King's lyrics, while better than they are on most of the album, are still based round a set of seemingly random phrases, non statements and boring commentary. It's Gang Of Four being a tribute to themselves. At least it's better than 'A Fruitfly In the Beehive', where King's lyrics are given a soft backing and shoved in the listener's face. King's voice was never there to be admired; it was there to be angry.

In a month set for comebacks for post punk bands, wire win hands down. Their new album is evolved, intelligent and pleasing, whereas Gang Of Fours' irrelevant comeback is exactly what it does on the overpriced ltd edition tin, contented.

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