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Yours Truly, Angry Mob

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The copyright in this sound recording is owned by B-Unique Records and is exclusively licenced and marketed by Polydor Ltd. The rhythms were just as foregrounded, but drawn more from pub-rock and Britpop than Josef K and Joy Division, with banged-out piano runs and ramped-up choruses replacing chippy guitars and watertight drumming. But On Mob, he's clearly trying for something more, yet seemingly unaware that he's caught in a rut. Essentially a repackaged summation of Employment's dynamism, "Ruby" pauses ever so slightly before hitting its simple, repeated refrain, ostensibly to increase its potency on impact.

Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. With a bit of distance, Employment certainly sounds like a debut record from a band rushed into the spotlight. Of course, he doesn't, which was fine when the band was content to wallop the listener over the head.

stars out of 5 -- "[T]heir second album manages to be full of surprises, while never straying too far from what you'd expect.

I Can Do Without You" is a half-hearted attempt at self-encouragement, and Wilson's not too sure he'll succeed, following the refrain with "but it won't be very good. The band has released seven albums as of 2020 and have released 27 singles, including the hits I Predict a Riot, Oh My God, Ruby and Never Miss a Beat. It's perhaps not surprising that the band is unable to keep their Employment energy level intact, but Mob's level of cynicism seems a bit of an overcompensation, as if the second record is an extended dreary hangover from the drunken escapade of the first. Wilson's preoccupation with failed (and failing) romantic relationships continues with "Love Is Not a Competition (But I'm Winning)" as the logical followup to Employment's "Everyday I Love You Less and Less", the sentiment from which was properly identified on this Web site in Joe Tangari's Employment review as barely concealed pining.

Additionally, in July 2006 the band revealed to Gigwise that they hoped to have the album released by Valentine's Day 2007. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. If your previous album was a slow-burning success story, it can be hard to be expected to hit the ground running on the follow-up. The band, in love as ever with the Britpop tradition that spawned them, offers another collection of swaggering uptempo guitar tracks that are full of big, singalong choruses.

Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. The final single "Love's Not a Competition (But I'm Winning)" was released as a collector's edition 7" single on 12 November 2007, with The Little Ones' cover of "Everything Is Average Nowadays" as a B-side. The self-hatred is capped on "My Kind of Guy", where Wilson abandons the ladies and finds a partner in despair, one who "sounds as horrible" as he does. It was released on 23 February 2007 in Belgium and the Netherlands, 26 February 2007 in the rest of the world by B-Unique Records and in March in North America by Universal Motown. If "Mob" ended with that bit of resignation, it would be fine, but the coda brings the groans, explaining the titular mass not as rowdy bar patrons or concert attendees, but society itself: "We are the angry mob, we read the papers everyday/ We like who we like, we hate who we hate, but we're oh so easily swayed.After "Oh My God" dented the UK singles charts in 2004, the Kaiser Chiefs were snatched up by Universal as the label's entry into the resurgent British new wave sweepstakes. The band's debut album, Employment, and its proletarian bent sounded like a recipe for the broadest appeal possible: The Chiefs occasionally shared Jam-isms with the Futureheads, and could wank out a power ballad like Bloc Party, but their appeal was geared toward a larger audience than their art-school counterparts. The band revealed to NME in October 2006 that they had recorded 22 songs and hoped to whittle that number down to 13 or 14 for the final album.

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