The Men

Tomorrow’s Hits proves that The Men aren’t hardcore heathens but rock tragics at heart, that they do whatever they damn well please – and do it damn well.

Good intentions and an admirable step in a new direction, but the energy's ultimately lacking.

Country as the new punk? That’s what true country has always been.

This is a very good, intermittently great album that just barely fails to escape the ideas that define its sounds.

Before the set is up there’s already talk in the crowd of the band’s free show at the Gasometer the following night. It isn’t hard to describe what we’re not getting and the scale on which we should be getting it.

There’s little argument against the band’s recorded power, but its now obvious to the lucky and hearing-damaged crowd that The Men are designed for the stage.

"But live, it’s pretty simple. It’s like the usual setup: two guitars, bass and drums. It works for us on stage, obviously, and it’s probably what we’ll bring to Australia.”

...the album feels well-paced and balanced with both fury and meditation and it is that dynamic range that makes The Men such a fascinating and rewarding band.

Not at all swayed by contemporary trends, aesthetically against any notion of genre definition, and ready to experiment with any process that catches their fancy.