By the sounds of it, that move may also have been motivated by being more than a little pissed off with the US, for Year Of The Crow is overtly political, and examines such tricky issues as war profiteering (CIA), crimes against humanity (Guantanamo), miscarriages of justice (Unfortunates), and misappropriation of funds (Gang Of Thieves).

To speak crudely, State Radio make a rock/reggae fusion. In point of fact, Unfortunates sounds like Larrikin Love fronted by Eddie Vedder. However, to say that State Radio's Chad Stokes is trying to copy the Pearl Jam legend would be a) harsh, and b) wrong. Stokes' style, despite similarities, is his own, and his lyricism and vocal patterning add distinction to the two styles. Repeated listens separates initial similarities. Though to read that the UK move was also motivated by the desire to work with Pearl Jam producer Tchad Blake suggests that Stokes himself is aware of the resemblance.

The album opens with the musically challenging Guantanamo, and sets a creative precedent for the whole album. State Radio are not afraid to experiment with original rhythms, intelligent song structure, and unusual chord changes. Gunatanamo concludes with a Rage Against The Machine-esque scream fest before the afore-mentioned Unfortunates and The Story Of Benjamin Darling Part 1 get the album off to a quick, engaging start in little over nine minutes. The latter the first sign of State Radio's astute sense of rhythm and subtle instrumentation.

It is, however, not until Gang Of Thieves (through the meaty, skank-inducing chorus of CIA) that Year Of The Crow comes to life. Beautifully structured, with intelligent lyricism "a poor man fights and dies for what a rich man only believes", Stokes is pissed off, and the verse unravels its way to a huge chorus with tasty harmonies and big guitars. Instantly memorable.

Gang Of Thieves gives way to Fight No More, arguably Year Of The Crows stand out track. The tempo slowed, the reggae guitar that drives the song, the haunting, bitterness of Stokes' delivery, and the dizzy falsetto beauty of the chorus renders the song brilliant. The blissful string arrangement that eases the song to its grandiose conclusion further demonstrate State Radio's ability to justify their political zeal with well crafted music.

From then on Year Of The Crow has a knowing swagger to it, though in a poor bit of sequencing the average Barn Storming follows Fight No More, and the album briefly loses its path. That aside, highlights include the melodic Omar Bay, the darkly powerful As With Gladness, and Sudan.

The album is slightly too long, and some of the songs could legitimately have been culled. But Year Of The Crow is an accessible foray into the fusion of rock and reggae, and offers a very creative, musical, spiteful alternative to the mainstream. They are a band who have found, and learnt to exploit their sound, but still possess the necessary ambition and creativity that is needed to make great albums.

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