{"id":39802,"date":"2006-06-16T00:00:00","date_gmt":"2006-06-16T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/in-the-event-of-tomorrow\/"},"modified":"2006-06-16T00:00:00","modified_gmt":"2006-06-16T00:00:00","slug":"in-the-event-of-tomorrow","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/in-the-event-of-tomorrow\/","title":{"rendered":"In The Event Of Tomorrow"},"content":{"rendered":"

<\/p>\n

For a new band that ventures out to do music, the
\nenthusiasm more often than not is fueled by the profound
\ninspiration from the one act they love the most. At times, this
\ninspiration results in an over-zealous imitation of the inspiring
\nband. This is exactly the case with the debut effort In The
\nEvent Of Tomorrow<\/i> from Bloomington, Indiana’s The Post.<\/p>\n

On the very first encounter, Tomorrow<\/i> is like
\nlistening to CD two of the double disc of OK Computer<\/i> that
\nRadiohead decided not to release. Everything about this record
\nbehaves and breathes like OK Computer<\/i>; even the sleeve
\nartwork on the record has cryptic texts like “In The Future: our
\nsystems will surely fail” and “Please, let us sleep” or credits
\nthat read “Expertly recorded by\u00e2\u20ac\u00a6” or “Polaroids dangerously
\nshot by\u00e2\u20ac\u00a6” that are typically found in the booklet of a
\nRadiohead album.<\/p>\n

Tomorrow is a brilliant debut record; but too
\nbrilliantly like Radiohead. The vocals are all echoey and doped
\nlike that of Thom Yorke, and the singing is deceptively
\nindiscernible, with Yorke’s signature whining and hysterical
\nrepetition of words done in almost replicate fashion. And, there
\nare words — relating the weirdest entities to the weirdest
\nsituations — like “Your body’s broken \/ The spider melts it down”
\n(on “A Place To Sit”) that makes the whole Radiohead-like
\nexperience satisfyingly complete.<\/p>\n

But, the thing that is perplexing about The Post’s
\nRadiohead-imitating tendency is that Tomorrow<\/i> is a genuinely
\ngood record, to which this band surely deserves credit and makes
\none think the imitation is just a weak spot in the group’s manner
\nof creative expression.<\/p>\n

With further listening, the true artistry of this
\nband surfaces, and The Post appears to be a completely different
\noutfit than just another Radiohead clone. The group’s sound is a
\ndistinctive mix of new wave and garage, which is fused with
\npsychedelic dissonance and melodiousness. This interesting
\ncombination results in an innovative style, and when mixed with the
\nRadiohead ambition is even more appealing.<\/p>\n

The album’s great numbers like “Where Are The
\nWolves,” “Shattered At The Mouthpiece,” and the amazing closer
\n“Polar” lose their edge a bit, but other great cuts like “Helping
\nHands,” “Different Engine,” and “Until We Bring,” show a degree of
\noriginality and provide reassurance to the listener of this act’s
\nnatural style, something that they should stick to more often.<\/p>\n

There is absolutely no doubt that The Post is a group
\nof talented musicians. But having said so, the reverence for their
\nheroes is overweighing their own creativity. Even the biggest bands
\nseek inspiration from their influences, but they use this
\ninspiration to fuel originality. If only these guys could
\nconcentrate on what they are able to offer, and not on what they
\nfeel would sell, this record would’ve been an even better, more
\nauthentic effort.<\/p>\n

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