Posted 20 hours ago

Austerity Dogs

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Sleaford Mods are untouchable, what I mean is there is no fucking, any fucking body, who comes any fucking where near to them. This lends the record an uncomfortable cubism – a hotchpotch of half-remembered impressions from the night before coming into relief through the hangover's haze: a disorienting miasma of contemporary bullshit. A continual seller ever since release in April 2006, demand for Burial's roundly praised debut has rocketed following a swathe of superlative appraisals and high rankings in the various year-end review sections. A sparse bass line is joined by a cheap-sounding drum machine, introducing the brutalist instrumentation that the record never departs from.

Like the aforementioned acts, Sleaford Mods have got a fabulous grasp of the mechanics of penning a raw, manic pop tune. Williamson doesn't always sing in the first-person, though – there are frequent changes of perspective in mid-flow. Does it matter that this 'album' is actually more like a patchwork quilt of various tunes the Mods have released down the years? We carry a broad range of CDs and vinyl (7”/12” singles and LPs) and specialise in indie, alternative, rock, punk, metal plus a few other genres. I feel like this has retrospectively been acclaimed as some kind of 'state of the nation' address by critics ever since divide and exit came out when really it's the same miserable ranting they'd been doing for years, but this time happened to come out in the middle of a recession.

The perfect antidote to waking up with sludge tongued Stella ache and Russell Bland bleating revolution from every orifice. Then, on 'My Jampandy', he tells how "cuts make people stink", whilst 'Fizzy' speaks of "work[ing] my dreams off for two bits of ravioli and a warm bottle of Smirnoff under a manager that doesn't have a clue. In the edit page, go to the 'Metadata' tab and add your Juno artist, label or release page for listeners to purchase your release / releases. The lyrics are often unpleasant, but in the same strike come over as blatantly ironic, observational prose. As with the cold leftovers of last night's kebab hastily consumed on the way to work in the hope of staving off a hangover, it may not be pretty but it's undeniably nourishing.

As well as the unparalleled joy of keeping the publication alive, you'll receive benefits including exclusive editorial, podcasts, and specially-commissioned music by some of our favourite artists. I also think it's fair to say that this is a highly lyrics-driven album, and that if you don't get those lyrics you will struggle to find anything to like. A band just as comfortable sharing the Temples festival bill with the likes of Electric Wizard and Neurosis as they are alongside Nick Cave, Iggy Pop and Deborah Harry on the forthcoming Jeffrey Lee Pierce Sessions album 'Axels And Sockets'.Sleaford Mods is an English music duo based in Nottingham, composed of vocalist Jason Williamson and musician Andrew Robert Lindsay Fearn (since 2012). Austerity Dogs is the 6th album by Nottingham duo Sleaford Mods, but it’s the one that got them noticed. Just after the release of 'Wank' the duo were invited to play a three day festival curated by Nottingham's Rammel Club. Their debut 'The Killing Jar', which was released in 2012, was hailed by many as 'one of the best debut album's you'll hear all year' - it even made it onto Kerrang's top 50 albums of the year. Months ago, back when I first started seeing this album on this site, I had it judged by its cover, title and band name.

As quotable as Half Man Half Biscuit, as in thrall to the rhythmic force of language as the Wu-Tang Clan and as 'wow, where the fuck did that come from? Austerity Dogs is a collection of old and new songs from the duo where the distinctive street-preaching is found marching along lo-fi drum machine beat patterns and sinister bass lines. When I say culture, I don't mean something that can be packaged up and sold back at people so they accept their own inferiority. It is a high octane and unrelenting blitzkrieg, railing against all things banal and vacuous in today’s world. If you love what we do, you can help tQ to continue bringing you the best in cultural criticism and new music by joining one of our subscription tiers.Basic beats, bass and keys splattered with some of the most articulate rage fulled observations on British life as lived by a great many people as you are likely to hear anywhere, if at all. Austerity Dogs’ is driven by post-punk basslines that loop consistently with rough cuts of drum clips, with the occasional synth melody to add a bit of texture to the tracks; these are all created by the other half of Sleaford Mods, Andrew Fearn. Because some of us are obstinate, stubborn and true to what we believe, regardless of whether it may be palatable to the masses (or even to the talented, active musicians that earn a small crust here in t'Towers). There are points within the album where it does overstay its welcome to the point of exhaustion, mainly on the second half where tracks such as ‘***street’ and ‘Don’t Wanna Disco Or 2’ are much weaker on impact, they seem to trudge along without any real direction. Sleaford Mods are kinda doing to rap what Kill the Vultures did a few years ago, but in a less cerebral way.

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