The vitriolic Nottingham duo returns to form after a short revue with Key Markets, an album probably meant to take aim at some notion of consumerism. Does this represent the bitter taste at the back of lyricist John Williamson’s throat following the commercial success of its predecessor,Divide And Exit, the 2014 outpouring of bile to universal acclaim that brought Sleaford Mods not only into the national spotlight, but turned them into music industry buzzwords on the international stage?
Probably. It’s hard to make out – Williamson’s lyrics stagger in jagged, unfocused zigzags like a blinded bull. Williamson quickly falls into a droll, irritated hum, akin to a mass of hornets not quite disturbed enough to leave their nest. With Andrew Fearn’s stripped back instrumentation, kit and a wet, sloppy kiss of a bass, the album rolls over you like a train over tracks, creates a drone, a haze, and sends you off, that sound-blocking you do at your retail job to avoid thinking too hard about your bleak at best future in a receding economy.
That’s admirable in itself, you could say: the new Sleaford Mods’ album is the experience of hopelessness. Continue reading ALBUM REVIEW: Sleaford Mods, Key Markets, 17.07.15