29 July 2015

Sleaford Mods - Key Markets


It is here, it is finally here - quite possibly the album I have been anticipating most this year.  Since reviewing 'Divide & Exit' (cleverly linked here), there has not been a few days where I have not listened to something by these guys.  I have over their works and been anticipating this album since it was first hinted at earlier in 2015; it has been put back a few times, but now it has been released.  I was asked by one of my mates why I didn't ask for a promo copy to review it before it came out or looked for a leak to get started - well, this is not that sort of blog to be honest.  I have been really happy waiting for the record to be released, I did not want to seem like some sort of hipster man who wanted to review it first (there has been some brilliant reviews, especially from 'IDWAL FISHER' (Linked here, check him out as the review is spot on and they also have some other class reviews) by people who have been into them from their earlier days) and it is something I do as sometimes magazine and other places are not talking about stuff I am interesting in.  But this is beside the point, this is the eighth album and their third for the Harbinger Sound label.  For some people this will appear like their second record, but obviously that is not the case; it came out on 24 July 2015 and whilst I write this it is the 28 July 2015 - I have pretty much not listened to anything else since I purchased it Friday.  It is time to see how it has turned out.

With the recording from a gig of the band's name being chanted, "Live Tonight" is a heavy bass, dirty rumbling and twisted number that starts the album off in quite possibly the best way.  The pumping bass line that is the lifeblood of this song is fierce, but this is nothing compared to Mr Williamson and his opening rants.  The fire is not waning on this song, if anything they have become more direct with their aims.  When you first hear it, it might seem like a string of unrelated rants pasted into this number; but the more you listen to it and the more things come into focus.  Laced with sarcasm and thinly barbed curses with more profanity than the average episode of Derek & Clive, ”Live Tonight" is the sound of a band in their stride and just starting to warm up.  This is followed up by the first track which was released before the album came out, the anthem for the apathetic "No One’s Bothered".  It feels like more measured and once again, behind the track there is a shit load of sarcasm which is mixed in with the sense of alienation and apathy.  It is an aggressive number that sounds that combines the aggression with a song that is (dare we say it) danceable as well.  That galloping bass line is so hypnotic and the lyrics about alienation and apathy are spot on as well, the boys set the standard very high when they released this early on and it is a good sign that they place it so early on the album.  With the sound of sirens “Bronx In A Six” comes into life with the tale of a person who is now alone due to his rising fame and moving out of his home town, going on for other targets such as Jack White, the Von Blondes and not giving a shit about what people think of them.  I love the lines about not giving a fuck about their culture, and then not giving two fucks about their culture – what culture, FUCK CULTURE.  It struts with a swagger and has a backing track to the lyrical delivery that sticks in the head long after the song has finished.  It is still rough around the edges, but that is what you want from the Sleaford Mods – the day they release a radio edit is the day I vote Tory, i.e. – it is never gonna happen.  With more funk that your average Northern Soul night, “Silly Me” starts with another fantastic backing track and the lyrics (which as ever can be open to interpretation) about the people who run shitty little clubs in the Birmingham area, the press and their perception of the band and making comments about the band’s family (never cool when that happens) and how the person does not win.  The music with its slow grove is fantastic and the lyrics are some of the best on here; a real gem on this album.

Winner of title of the album “Cunt Make It Up” is next; this is the best song on the album – hands down, it is fucking harsh and takes no prisoners.  An attack on their critics and on other bands which they see as pretenders to music and posing without any substance, they just go for broke and hit the jackpot.  When they shot “You’re shit”, you just wondering who they are talking about; there is a few bands it could be, but this is not the time to talk about it.  The bit when they are talking about wearing a wrestling mask, I think I could not stop laughing at the lunacy and also at the same time thinking I have seen something like that out there – song of the album, hands down.  “Faces To Faces” was the second track to be released before the album was released (on Soundcloud if I remember rightly) and the pace is quickened up after the sinister edge to “Cunt Make It Up”; this is the track which caused the Daily Fail to want them taken off Glastonbury as it talks about knocking Boris Johnson off a bike – it also aims for Nick Clegg and any other person who gets in their way.  Whilst having the Daily Fail attack you is something we should all aim for, it just shows how much attention is being focused on this band; this song is a great example of what they are about and its social commentary is spot on, the music behind it is just an added bonus as the band go once more for the jugular.   “Arabia” is a strange tune, it is also where the album gets it title; the bass is different with the fast, relentless and harsh drumming that give a feeling of unease to accompany the lyrics.  This time the subject range from Green Coke, fire engines, freaks who want to feed on the band, blowing smoke out of your arse and not rating people you used to rate.  It sounds like it should be falling apart, but it does the exact opposite.  Once you get into the music, everything falls into place and the quality of the song unfolds with subsequent listens; it is strange, but it is also very clever.  “In Quiet Streets” is filled with some of the harshest and funny lyrics of the album, the cream of the crop being - "Bought some cakes that taste of Koala waste.  Eucalyptus - you can fuck off!” the music is still as minimal as ever, but like the rest of this album it sounds driven and loud.  Ex Labour leader Ed Miliband is a target on this song - as are guest ales, cheques banked in a cash convert, computer login details, not wanting radio play, doing what you want and everything within hearing distance of the band; fierce and wonderful.

As the album enters its endgame, we are introduced to "Tarantula Deadly Cargo" which I first heard when the band performed at Glastonbury (wasn't there as I am fucked if I am spending that much money on tickets without knowing who is playing - never thought I would be thankful for the coverage from the BBC).  Was not too sure about it when I first heard it, it was a slow number in the middle of a high energy set and whilst sounding decent it seemed a bit strange upon the first listen.  However, with further listens it does make more sense; it is not the instant, attention grabbing number that the best percentage of this album has turned out to be.  It is subtle and takes its time, once more it is very minimal (especially in the lyrical department) and it keeps the album going in the right direction.  The next track is called "Rupert Trousers" and it has a sinister tone to the music and the first few spins just did not make sense once more, but once more it is a song that takes its time to sinks its hooks into your mind.  The ripping into Blur and Boris Johnson getting a kicking are amongst the highlights for me here, but the main think that remains with me from this song is the music.  It is hypnotic, dark and brilliant; once again the band keep surprising me with this album.  The penultimate track is "Giddy on the Ciggies" which goes back to the manic vocals which sound as if the world is being given a lesson on what it should be doing, even then they will find something else to rant about.  It sounds like the sound of the terminally fucked off with nothing else to lose and giving so little care about what you, me or anyone else thinks.  Ending the album is "The Blob" and the swagger of earlier is back and the story of the blob is told.  The blob don't care, the blob ate your date, he is a gnarly fucker and is tripping over the chocolates whilst looking after some slutty underwear.  It ends the album with a short, sharp attack that is unrelenting to the end.

Ok, cards on the table - I think they have equalled 'Divide & Exit', it is a very strong successor to that album.  The anticipation has been matched with an excellent album, you can hear that there has been change to the music and the production has been increased.  This does not diminish anything from the sound, it is still are fierce and strong as it has been through out all the releases I have heard.  The social commentary of the record is as sharp as ever, with the usual mixture of sarcasm and writhing irony.  Each track is fantastic, some take longer to sink in but they are really worth it.  From beginning to end, it is one of the albums of 2015 from one of the best bands going; long story short - buy it now!

10 out of ten - This is proof that there is a God (and he is very pissed off)

Top track - Cunts Make It Up

You can purchase the album from Amazon here

You can visit the Sleaford Mods website here

You can stream the album on Spotify here

You can stream the album on Deezer here

You can stream the album on Tidal here

26 July 2015

The Aristocrats - Tres Caballeros


Occasionly, Ultimate Guitar posts a few interesting polls, and here's a big puzzler for you all and one question that I'm sure will get the debate house rocking to its timbers. Who in your opinion is the most underrated guitarist? Jimmy Page, Kirk Hammett or Pete Townsend perhaps? Or maybe someone gone way before their time, like Randy Rhoads or Tommy Bolin? Couldn't sustain from opining of course, so I posted on UG's Facebook page that for me it was a toss up between Joe Satriani and John Petrucci, but I guess like thousands of others, I was missing the point. An underrated guitarist really should be relatively unknown to the public but enough to have remonstrated his or her credentials.

So hereth enter Essex axeman Guthrie Govan. When I was flicking through the comments, I saw his name crop up at least 20 times in the 150 or so suggestions This was about 12 months ago and I didn't read too much into his details, until I felt desperate to find out more and by happy coincidence his latest project has a new album out. Ok, so maybe I shouldn't get too excited, but if The Aristocrats' brand new offering is a peach, then all my expectations will be met. Unlike the band in my last blog, Animals As Leaders, The Aristocrats are classified as a three piece supergroup. Along with GG, there's bassist Bryan Beller who's worked with a few notable musicians including Joe Satriani, Steve Vai, the drummer is Germany's Marco Minnemann, he was once touted as a natural replacement for Mike Portnoy in Dream Theater.


So yet another act with a point of proving that the creation of the whole is greater than the sum of its parts, and this Hispanic titled album, Tres Caballeros (or if you want Three Gentleman) is their third and a hint that this is more than just a little side project. Not too sure about the pixelated graphics on the sleeve however, still, never judge a book by its cover etc... They open proceedings with Stupid 7, certainly has a West Coast feel about it, but also seems to alternate that with some ZZ Top zaniness, well, actually, that's their fourth track title which I'll come to in a moment. It's then followed by Jack's Back, the light tapping and pull offs are the order through its six minutes, it's a lighter affair on the whole.

Now onto Texas Crazypants, terrible title, great track. Very pacey lively number I must admit and another 'Top inspired tune, there are the occasional volume swells and police sound effects which give it a much clearer illustration about the whole tale. Marco labours his audio cues a little but immediately we're straight into tune number 4, ZZ Top, and strange, it doesn't feel Texan at all and Govan's leads seem a lot more straightforward than I anticipated. Sounds very inviting and very much well stacked, the compulsion to listen to it again is there for me. Next, we have Pig's Day Off which starts on a very gentle note and odd lick or two are added throughout, but the tone throughout the mid section takes a rather dark path until the original hook comes in to end proceedings.

We're straight into Smuggler's Corner, it's a basic Shadows pastiche in that mould, maybe some whammy swells, but it's an eight minute piece, surely it's not going to run like that all the way through? Thankfully no. The twists and turns may be few and far between, but there one or two interesting snippets, for instance what sounds like a Spaghetti Western choir, and his pedalwork is more apparent here. Pressure Relief incorporates more jazz, still a light airy feel, but Guthrie's dexterity is more apparent although if you're used to listening to more heavier backdrops, you really have to strain your ears to appreciate the effort the trio put in.


Things are getting a tad too lightweight, but thankfully there's The Kentucky Meat Shower, again not very distorted, but there's more emphasis on the fretwork before the next hookline opens up to a much rockier theme, interesting to note that Govan's efforts run in line with Bryan Beller's basswork. The final track is the eleven minute Through The Flower, starts with a test exercise on alternating the tone switch, (Jimmy Page adopted this technique for the live How Many More Times) and feels like the Danelectro is the dominant force throughout what feels as rhythmic as a Rickie Lee Jones number. He uses the same riff structure throughout before an extra layer of leads is thrown in towards the last two minutes of the track.

I'll say it here and now was never one of my fortes, but I'm sure it'll become a more enamoured affair. Interesting to see that Guthrie, Minnemann and Beller spent only 10 days recording this, certainly the production is at its most simplistic. Jazz Fusion? Well, it's an acquired taste that comes with a methodical approach and even though Tres Caballeros is an instrumental throughout, it does feel very inviting and teasing. Mind you, if I had to judge on the choice of song titles, the mark would be zero. Seriously though, no reason why this shouldn't mature gracefully but a few more listens are in order and certainly a must have album if you're a hardcore non vocals fan.

8 out of ten. Oh, now you have my attention, and maybe my money, time and heart.
Best Track : Kentucky Meat Shower

Buy the album here on Amazon
Listen to Tres Caballeros here on Spotify
Deezer listeners click on this link
Official Aristocrats Website here
Official Aristocrats Facebook page here

25 July 2015

Animals As Leaders - The Joy Of Motion


Certainly one act I should really pay attention to more often, and as I'm listening to this 2014 offering The Joy Of Motion, I really wish to God I'd reviewed this last year. One of the members Tosin Abasi I recognise as a well learned Technical Metalcore (or Mathcore if you like) guitarist and I have watched his masterclass snippets on several Ultimate Guitar Podcasts. He's more akin to a seven string Ibanez and he's always willing to demonstrate a few licks he's picked up in short space of time.

Animals As Leaders is formerly his solo project, now Javier Reyes and Matt Garstka he has on board as fully paid up members yet on first impressions of hearing the opening few minutes, this is like a supergroup that nobody's ever heard of. Intrigued? Read on then. The band name that Tosin adopted is from Ishmael, a Daniel Quinn novel which basically deals with one character, akin to the origins of man and his role at the centre of all things in the universe and of its significance. Sounds Orwellian to me but still a third eye opener nevertheless.

It's the first indications that we're looking at a seriously underrated act and I did mention the opening track without going into depth. If the first tune is to make an impact, it needs to have a few hooks, one following another backed up by some serious mathcore drumming and Kascade ticks all the boxes here. Opening shop is  Javier Reyes' calm Symposium styled guitarring before Tosin's metal traits, but I'm also very impressed by Gartska's speedy yet very calculating skinswork, a la Carl Palmer (one of the greatest in the world by the way). If Kascade intended to knock me for six, then certainly the intention and impact worked to a tee.


Less pace on track two Lippincott, the bridges resemble Jeff Wayne's War Of The Worlds and less metal based, but still very compelling yet two hooks and without warning four minutes is up already. Next up is Air Chrysalis which makes the album more mellowing, well at least until midway in when Mr Tobin's intense seven string leads starts to make its musical illustration, but again, all over far too soon for its five minute existence. Another Year follows a same format of jazz fusion and metal hints, but there's more feature on keyboards by producer Misha Mansoor, maybe not as raucously organised this time but a hint that the whole project is not confined to the three core band members.

I would like to call this a concept album, but I'm not sure if I would get away with that even for a progressive piece. At present, no track runs much more between four and five minutes, but all very intriguing so far for the eager listener. Physical Education, not a bad tune maybe a little stuck in the filler status but certainly not disappointing as the more listens I give it. Tooth And Claw is a welcome return to the spiky edge, I really enjoy the  two, maybe three Iron Maiden layered guitar bases, especially as Tosin Abasi evidences some enlightening influences. Midpoint of The Joy Of Motion now, and while there's a threat that the beats may becoming similar, Mr Tosin's leads right at the beginning really mean business, lightens up halfway, then a few more differing loops and twists in the plot keep up the intrigue factor.

Track number eight is The Future That Awaited Me. Like Joe Satriani, it's really difficult to remember the titles as instrumentals, but it's another one that sounds like a heavy influence from The Alan Parsons Project. Previous track was my top contender, but this less heavy version is also in with a shout. Aside from the Jazz Fusion, Prog Metal order of the menu, next track Para Mexer is opened with Spanish nylon strings, which I suspect was from the hands of rhythm guitarist Javier Reyes. It's been a welcome change, and sets The Joy Of Motion in good stead for the final three tracks.


The Woven Web is more bass driven, sounds like Mark King going hell for leather and is the dominant force throughout its whole four minutes. Misha Mansoor is another well learned contribution to the Animals concern. I try to imagine what the instrumentalists were thinking at the time they composed their tunes, in Mind-Spun, the police siren riffs for me give a rare dark sense of foreboding, and well, a rare break from the theme of airiness. Final track Nephele restores some of that airiness until the Jeff Wayne-esque effects return close out. I haven't mentioned much about it, but like the others on the album, it forges its own path in its own inimitable form.

Here and now, I'll confess I was expecting great things from Animals As Leaders and actually they've delivered the goods right on time. It's just a shame that in general expectation is an unquantifiable thing that can't measure up your thoughts if you're relatively new to Jazz Fusion, Djent or Prog Metal. The Joy Of Motion is for me a wheel oiled machine and Tosin and Co have gifted the listener with a real meaty little project. Actually, maybe project isn't the appropriate term but certainly a fantastically beautiful offering. An album either hits me or doesn't. If not, then it usually takes a few listens before it really gets under your skin in the best way.  I haven't bought any CDs for a good 12 months now, (sorry I still don't do album downloads, I'm ashamed to say) but it's now time to get out my Christmas wish list....

9 out of ten. Almost perfect....almost.
Best Track : Tooth And Claw

Buy The Joy Of Motion here on Amazon
Listen to the album here on Spotify
Deezer listeners can alternatively click on this link
Official Animals As Leaders Facebook page here
Official Animals As Leaders website here

22 July 2015

The Black Hounds - Love And Death EP


Well, it is time for another request review - this time it is a review of Wolverhampton band The Black Hounds.  I am going to take this from their Facebook page, as I do not know anything about them - 'The Black Hounds are a heavy rock act from the heart of the Black Country. The group was formed in January of 2013 by a group of individuals who had "been there and done that" and were still searching for other like minded, ambitious musicians, longing for chemistry and another chance to express themselves'. They go on to state - 'Our music is hard and aggressive with a focus on hooks, groove and melody. However, the band does also display a deeper side with songs that are emotional, introspective and sincere'.  Now, as I am willing to admit that it is a noble sentiment to want to make music that emotive - the proof is in the resulting songs and lets see how this three track EP sounds?

Starting this release is "Love & Death" which comes across as a mixture of Slipknot,
Queensrÿche, Bullet For my Valentine & Iron Maiden, but it is more heavy rock with a hint of metal to these ears.  It has a classic rock feeling, the instruments are played well and I have not heard that many solos mixed into the song outside of Bruce & Co.  It does sail past me and does not stick in my mind, but it is played well.  The next number "Mr Mayhem" which is more aggressive than "Love & Death" and mixed in with that classic rock/metal sound is a bit of groove metal sound, it is certainly more interest to me.  It have something more to it, a bit more of a depth than "Love & Death", the opening has an infectious riff and once again it is well played.  The final track is called "Call To Arms" and it starts off much like "Mr Mayhem" which the mixture of groove and classic metal and the verses are strong, the chorus is does not quite stand next to them, but overall it is still a strong and well played number, the ending of the song is really good and finishes it off on a high point.

I will be honest and say this EP is not to my tastes; but that does not mean that it is bad.  For what these men do, they do it really well and I cannot fault the passion and performance itself.  If you are looking for a heavy metal/groove metal/hard rock combo, then these guys could be your cup of mead.  For me it was not the sort of music I am into these days, it does not connect with me; but still well played all the same and I hope the band find the audience that they are looking for.

3 out of five - Decent, getting there

Top track - Mr Mayhem


You can purchase the album from Amazon here

You can visit the Black Hounds website here

You can stream the album on Spotify here

You can stream the album on Deezer here

You can stream the album on Tidal here

Sleaford Mods - Austerity Dogs



No, this is not the new album - that is coming out on the 24th July (hopefully) in the UK; it was due earlier in the year, but it has been delayed a few time.  It is one of three releases that I have been really excited about for 2015, but until then I (along with a lot of other people) will have to wait for 'Key Markets' to drop by listening to their earlier work.  This is the sixth album which was released in 2013, the cover is a harsh black and white picture of Jason Williamson (vocalist and lyric writer) in a long black coat and Andrew Fearn standing in the back ground next to a clothing bank.  After the brilliant 'Divide and Exit' (cleverly linked here) entered my world last year, I have been pretty much trying to play catch up to see what their earlier works sounded like and to find out if there has been any change in their style or if there has been just rant, after rant, after venomous filled rant.  Well until I can get myself a copy of their new album, I have decided to give this one a review to pass the time - so how do the dogs sound?

The album starts off with "Urine Mate (Welcome To The Club)" which starts off with John Paul delivering a warm up rant which goes on for a minute and sounds like it is getting everything ready for Messrs Williamson and Fearn to start giving the world a kick in the nads that it needs.  It also sounds as if he is giving Jason Williamson the same piece of mind that Mr Williamson gives to the rest of the world - it starts off with that level of simmering anger that was the main fuel of 'Divide and Exit'.  Once the music starts, it is really minimal (just a basic bassline, the odd snare sound and a tambourine sound looping as the tale of the urine stinking man and burning pubs in the shadow of a world turning to shit makes for a truly terrifying opening to this album that is about as raw as anything out there; the perfect antidote to the charts and the eighties revival that has been going for the last few years.  "McFlurry" keeps the tone equally furious – like most of their music, the backing track is minimal as usual; aggressive drums, solid bass and a set of synth sounds towards the end like high-end drone.  Mr Williamson sounds as gives another slice of distain against Boris Johnson, the end of the high street and the world which he views where everything is turning to shit and the earning of a BRIT award means jack shit (which is something that I (and I speak for me and not the rest of the blog team) agrees with).  There is a telephone conversation on the end, which just adds to the overall grime and tone of the song; two songs in, going very well. The third track is called “My Jampandy” has a tone which can only be described as fucking vicious – starting off with avoiding a wanker/friend in the park whilst going out with his kid and the rant that comes after that, you get the feeling that nothing is safe from this man; you have a rant about weight, lad culture and violence and it keeps driving on with the relentless drive of the background music which has no give or difference.  I love the relentless nature of the music and everything that swings around within the number – when he say ‘weeeeeeeeee’ in one section of the song, it always makes me laugh out loud.  Then we come to “Fizzy” which is a storming track, the distain about the joys of the modern working environment with the usual minimal music which is shown for the strength it is on this number as you focus on the lyrics and the message behind them; when you have anything else come into the song, it is it when there is a blank piece of the song that is not being used for the next barrage against the world.  If you have been in a shit, dead end job which gives you mission statements and people who do not have a clue – then this song will make so much sense, this is fury incarnate and the anger has been driven into something of a glorious release.  I do wish I could have seen these guys when they supported the Specials, as it would have been brilliant to see the songs go over the heads of the audience whilst some of them would have got it straight away. 

“Donkey” starts with the sound of a donkey and the mood actually changes (sort of).  It feels like a strange dream sequence which is voiced by Sir Williamson and Fearn with more noise coming from the machine and the rants being kept to a minimum on this number.  Calling rock n’ roll a con and the disgust at the rock scene is almost like a break so they can get their breath back.  There are so many brilliant lines in this songs – ‘White Collar Bollocks Sing Along’, ‘’Silly little leopard skins on, Les Paul singy song, song – nah’.  It may not be as vicious as the other tracks here, but it is still a barbed shit of hatred and full of anger.  ”PPO Kissin Behinds” follows a similar them, the rant is controlled and does not sound like a you are being pinned against the world whilst the Mods tell you what is wrong with the world.  But the message is still a little gem, cow bell and all; it is a flippant and has a certain swagger about it.  “Shit Streets Runny” starts off with a confession of sorts but with no remorse in the voice about the acts of yesteryears; maybe a hint of regret in some ways.  The brags about what used to happen on a weekend and the masculine parading that is something that can be related to, it also has another guest appearance from John Paul to give it another voice to describe that time of your life when going out is all you want and that time some little shit spikes your drink – it might not be a track I come back to that much, but it still sounds more full of life than anything from the top 40 and that popular crowd of chart wankers.  “The Wage Don’t Fit” is back to the outright aggression of this act (not that this is the only thing that they excel in, they are sharp as buttons), the disillusion of minimal wage working (something that this government haven’t got a clue about) and other things that can piss off the person who is at the bottom of their luck.  This is one of the best songs of this album, a real fucking amazing and the way Williamson spits out “Do you think I would ignore fame and fortune for the fucking fun of it”, you know he is speaking the truth.

Back to the slower swagger with “Showboat”, there is a mocking tone to this song and they are taking the piss out of hipster bands and the rule of moving to London for fame and fortune; the music sounds like a fairground gone wrong, it is rather hypnotic and in tone with the song.  It might not sound as harsh as other songs, but it is one of the strongest song of the album.  “I Don’t Wanna Disco or Two” is next, this is the longest song on the album; another song about fighting, shitty promoters, musical freedom and a sample heralding the breakdown of society which is scheduled to happen in the first decades of society.  Saying as the world is generally turning to shit and the description of Mr Williamson being robbed and killed is one of many chilling descriptions in this song.  It seems to go by in the blink of an eye and the backing track is even sparser than ever, another phenomenal track.  “£5.60” is a moody little number about purchases made late at night for dubious substances from people who are desperate for the cash and do not know how to charge for their merchandise.  What surprises me is that the word ‘fuck’ is bleeped out twice on the copy I purchased – as if all the earlier fuck, cunts and bastards were ok, but the album finally given up?  Anyway, it does not stop this moody track from holding your attention like the rest of the album and keeping this listener incredible entertained.  The penultimate track is called “Kill It Clean” and the horns start off with a horn; questioning why everything sounds the same, being made to feel and act so small.  It is a song that has a confidence built in, it is the sound of belief and that is something that this band has shown in each release I have heard.  Ending the album is “Bored to Be Wild” and this is the kingpin of the album, they sound so relentless and the energy coming from the song is bewitching.  When it is on repeat for the blog, it felt like a whirlpool of despair that was all consuming.  The rants are multiple on this one, to go through them would need another paragraph on its own.  But safe to say it is the track of the album and it is also the perfect end to this record.

Like everything that Sleaford Mods do, I fucking love this – I love the minimal music, I love the poetic nature of the lyrics (yes, there is a style in them which can be described as poetic), I love the no-nonsense approach to the subject matters and the delivery that does not give a living fuck about what you or anyone else thinks.  This was before they started to make the name they have made for themselves, from the couple of tracks I have heard from their new album that attitude and commitment have not deviated one iota.  This album is fierce, proud and as rough as it comes.  In preparation for Friday, listen to all of their work and make this one amongst the first that you listen to – you will not regret it.

Top track – Bored to Be Wild

10 out of ten – This is proof that there is a God (and he is very pissed off)

You can purchase one of the versions of the album from Amazon here

You can visit the Sleaford Mods website here

You can purchase the album from their Bandcamp page here (as well as other releases)

You can stream the album on Spotify here

You can stream the album on Deezer here

You can stream the album on Tidal here

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