The best new albums this week
Sleaford Mods’ state of the nation address and much more besides
ALBUM OF THE WEEK
Sleaford Mods – UK Grim (Rough Trade)
Over the past two decades, the Brit post-punk/alternative hip-hop duo of Jason Williamson and Andrew Fearn have crafted an immensely impressive and expansive back catalogue that has often felt like a soundtrack to our times. 2021’s career height Spare Ribs might have cemented the pair as spokesmen for the working class, disenfranchised and those utterly fed up with the Tory-run UK, but that doesn’t change the fact that the two men, now in their early fifties, have definitely felt the weight of encroaching ageism, be it evident or psychosomatic.
While they may be concerned with slotting into tours and bills with acts 20 to 30 years their junior, one spin of their twelfth full-length UK Grim should dispel any notions of calmness coming with age. If anything, Sleaford Mods have rarely sounded this dejected, despondent or dynamic. Well, not rarely, but you get the idea…
As the opening title track swings into full wallop with its monotonous synth and Williamson’s declaration that he has “crisis stamina”, it’s admittedly difficult to not crack a smile in agreement to the seasoned veteran’s disillusioned world view.
The following cut, ‘DIWhy’ appears to take aim at modern British post-punk acts, and the perceived patronising that can come from espousing political ideals. As Williamson is no stranger to controversy and putting those, whether they be politicians or fellow artists, on severe blast, it isn’t too difficult to read between the lines of, “Sorry mate, you’ve just dropped one of your tattoos”, to interpret who in particular the message is most squarely directed at, but as this is a music publication and not a pot to stir, we must march forward.
Ironically, cuts as ‘Till Dipper’ with its thick synth-punk accents, or the urgent bass line and tight percussion that embraces their feral punk machinations on ‘Pit 2 Pit’, pulse with an energy not far removed from the skeleton of outfits Williamson seems to loathe so deeply.
In a recent interview with the Guardian, the endearingly cynical frontman clarified his stance that “A lot of these politicians, they’re not evil. They’re just very detached. I’d like to say it’s not just bounteous privilege, but it is. People like Boris Johnson, Rishi Sunak, they’re incredibly cut off from the world. They’re not serial killers, they’re just ignorant of others. They treat people like they’re asking for change… Here you go, have a bit, tossing a coin while they’re eating a sandwich, looking at their mobile phone.” It’s this lambasting of uncaring authority and the sense of a community forgotten that radiates through the Sainsbury’s car park brawl on ‘Smash Each Other Up’, complete with its murky, muted bass line, or the incredulous ‘On The Ground’, which teems with glitching Nintendo synths, and a snapping composition that serves as vital reminder of Fearn’s ability to often conjure the sound of a full band on his creative lonesome.
While the sardonic standout, ‘I Claudius’, will surely be the take home for many a listener, the duo’s enlisting of guest features ultimately leads to the album’s most essential contributions. Jane’s Addiction eccentric frontman extraordinaire Perry Farrell fits snugly over Yearn’s jittering, synth squelches on recent single, ‘So Trendy’, with his deep New York accent and animated delivery delightfully juxtaposed next to Williamson’s embittered Nottingham drawl. ‘Force 10 From Navarone’ also boasts a sultry, snide appearance from Florence Shaw of Dry Cleaning, while the menacing Cliff Martinez ‘Drive’ soundtrack synths and the hypnotic, rhetorical refrain – “Jason, why does the darkness elope?”, conjure an unsettling depiction of weariness in all of its fractured frailty.
For those not already well on board with the Mods’ brand of political vitriol and cynical sincerity, UK Grim will feel like more of the same; another reliable batch of British hip-hop inflected post-punk with a working-class attitude. The deeper one digs, however, the far more minimal and aggressive the aura of the project becomes, elevating the razor-sharp wit and lockjaw bite that resulted in major the success of Spare Ribs.
As Williamson succinctly puts it, “I’ve visited Eton, there’s loads of places like it, and if that’s all you know, then you’ve definitely not had to worry about pulling a tenner out of the bank…” UK Grim is the background music to such an epiphany, which far too many of today’s working class appear to be spinning on repeat.
ZB
H. Hawkline – Milk For Flowers (Heavenly)
Well here’s a turn up. Huw “H Hawkline” Evans surfaces from behind his usual obscuration and lays on us an incredibly personal record that is as raw and tender as it is beautiful. Milk For Flowers, his fifth long-player, tackles his ongoing journey of grief following the loss of both his parents in the six years since his last long-player, 2017’s ‘I Romanticize’.
Not that he explicitly says this, but he doesn’t really need to. Prolonged exposure to ‘Milk For Flowers’ will have you doing the work for him as you unpick the heart-on-the-sleeve lyrics. The official line is the album served as “the outlet for several dances with the violence of life”. Does it ever.
It’s produced by long-time collaborator Cate Le Bon – the pair have contributed to each others albums over last 15 years. She describes this one as “exquisitely raw, yet deftly graceful” which, again, it very much is. It also comes with a cast that should stop you in your tracks.
Recorded at the legendary Rockfield Studios, dropping in the help out are, deep breath, Stephen “Sweet Baboo” Black and his Group Listening bandmate Paul Jones, Tim “White Fence” Presley (the other half of DRINKS with Le Bon). There’s Davey Newington, frontman of Cardiff’s fellow Heavenly recording artistes Boy Azooga, and Younghusband’s Euan Hinshelwood brings the sax, which is especially good on the synthy thrummer ‘Athens At Night’. Evans’ former partner Aldous Hardin is never far away and here she lends Harry Bohay on pedal steel and her producer and PJ Harvey collaborator, John Parish on on “infrequent bongo”.
Evans talks about how in the past he’s obscured or abstracted any emotion, keeping his voice as flat and emotionless as possible. “It was impossible to do any of those things with this album,” he says. “I had to sing.”
And sing he does. The opening title track is a real belter – a proper upbeat romp whose rich melody, picked out by Evan’s soaring vocal on the chorus, is a total showstopper. He keeps the mood up with the Super Furry-ish bounce of ‘Plastic Man’, while the tip-toeing ‘Denver’ builds into a hypnotic Julian Cope-esque wig-out ending. A record that works from beginning to end, closing ballad ‘Empty Room’ leaves you in no doubt of the scale of loss – “My dad he don’t sleep anymore”.
You have to hope that this new vulnerability is here to stay. This is a real tour de force.
NM
The ascent of Tyron Frampton, better known as Slowthai, has always appeared to rest on a shaky foundation. The Mercury nominated debut Nothing Great About Britain established the eccentric wordsmith as an unhinged voice for the marginalised youth, leading to features and tours with the likes of the recently disbanded self-proclaimed hip-hop boyband Brockhampton.
2021’s TYRON served as less a rebirth and more an expansion of the differing emotive modes modern alternative hip-hop can form. The split project portrayed both the most flippant, reckless aspects of Frampton’s character while the second half was a melancholic, introspective affair dotted with cuts lovelorn, anxious and positive, all in equal measure. Be it the sardonic, Skepta featuring ‘CANCELLED’ that threw shade at those demanding Slowthai’s head in the wake of an ill-fated, drunken NME Awards segment, or the serene sadness the Mount Kimbie and James Blake collaboration ‘feel away’ offered, an earnest light was cast on the struggles of coping with newfound fame and success.
When examining these earlier projects, the creative stride of UGLY only appears more impressive. It’s no big secret that Frampton owes much of his aesthetic, attitude and influences to punk, with notable ties to Bristol post-punk juggernauts IDLES. In a year where Lil Yachty has already made a play for re-establishing himself as a psychedelic crooner, Slowthai seems to have finally arrived at his creative destination with a frenetic, sprawling opus of deranged sincerity, channelling all facets of his inspiration simultaneously, resulting in a work that seamlessly blurs the lines of hip-hop and punk.
The caustic atmosphere of opener, ‘Yum’, pulses with an industrial, clipping. inspired production while Frampton delivers a feral spoken word piece that morphs into a self-deprecating rant about drug dependency and failed therapy sessions.
From there, the genre-hopping becomes dizzying in its dynamism, ranging from angsty no-wave punk on ‘Selfish’, to euphoric festival pop on the anthemic outlier ‘Feel Good’. The immense tragedy of, ‘Never Again’, featuring a touching refrain from Ethan P. Flynn, details the meeting of an ex’s parents, a subsequent encounter with the estranged lover, and the sudden shock of their untimely death. It’s a stark reminder of Slowthai’s ability as a narrator, offering you a glimpse behind the bravado and character; revealing a deeply damaged and chequered past.
The double barrel of ‘HAPPY’ and ‘UGLY’ traverses deeper down the Interpol-indebted sounds of NYC post-punk, whilst constantly retaining Frampton’s reliable banterous snark that has resonated since his debut. As sonically disparate as UGLY is from his first two records, there’s no denying that this can’t help but vitally feel like the project Slowthai always wanted to make, finally fusing all aspects of his ego into one unique cohesive sound and vision. Ultimately fitting right alongside newfound contemporaries in the aforementioned IDLES, Sleaford Mods, Shame and the UK post-punk movement at large, but while managing to effortlessly clasp to his pre-established identity as one the most endearing hip-hop artists in the scene, this third full-length Slowthai offering feels more like the first undiluted work from Tyron Frampton, and it’s far from ugly.
ZB
John Beltran – Ten Days of Blue (Live At Dekmantel) (All Good Music)
Say what you will about Dekmantel, arguably the most revered electronic music festival in the Netherlands, and certainly the most in-demand for tickets. Hype aside, the event sets incredibly high standards in terms of bookings, and the musical vision guiding programming. Its inaugural edition, for example, all the way way back in 2013, featured a debut live show from Trade (Blawan and Surgeon’s powerhouse techno double act) and a rare Underground Resistance show.
For 2022’s instalment, John Beltran was among the biggest selling points, at least for those who appreciate the more refined, less banging end of electronic music. The legendary Michigan artist is someone who has always embraced true musicality in his work, whether that’s on ambient tips or down the Detroit techno vein running through his back catalogue. A great example of dance music production that can hold its own when compared with the craftsmanship, songwriting and compositions of any genre, from classical to jazz, you could argue he has played a defining role in silencing the snobbery and criticism that once wrote an entire scene off as throwaway party noise.
His 1996 album, Ten Days of Blue, remains a benchmark in those terms. Released at a time when harder European and UK techno had risen to become the most immediately identifiable definition of the whole genre, at this point it would still be a decade or so until Motor City’s originators started getting the credit they deserved. Beltran may not belong in that first wave of names, but nonetheless epitomises the US sub-genre, as this LP reflects. Here recorded live at Dekmantel, the symbolism of a live dance music production album getting an official release is also notable. Like Beltran himself, it exemplifies how far this world can be from the boom boom stereotypes of non-believers.
MH
Alexisonfire/Moneen – The Switcheroo Series (Dine Alone)
One of the most cherished crossover collaborations of the 21st century Canadian punk scene, The Switcheroo Series was originally released in 2005, and offered a unique, retro spin on the split EP formula with post-hardcore stalwarts Alexisonfire and Moneen covering two of each other’s songs whilst also contributing one new cut a piece.
Most intriguing off the bat is how vast the dichotomy genuinely is between both artist’s core sounds, with Alexis known for their chaotic vocal trifecta and sprawling compositions and the more melodious turns from their counterparts (no pun intended) in Moneen.
Noted for also being the debut release with current Alexisonfire drummer Jordan “Ratbeard” Hastings following the somewhat messy departure of founding member Jesse Ingelevics, this first turn from the newly established line-up (one that has stayed in place for almost two decades) served as a playful expansion of the band’s abilities, with their anthemic, joyous rendition of ‘The Passing Of America’ (re-titled ‘Passing Out In America’) teetering the closest they ever have to serene pop-punk, while their melancholy re-imagining of ‘Tonight I’m Gone’ (‘Tonight I Am Going To Wash The Hippie’) puts a dour spin on the original’s already delicate structure.
Moneen on the other hand, have the more admittedly trying task of re-defining the Alexis formula for a more coherent sole lead vocal arrangement, transforming the cathartic live staple ‘Accidents (Are On Purpose’) to a more accessible standard, while it’s their brave approach to ‘Sharks And Danger’ (‘Sharks In Danger’) that echoes the original’s glacial pace and unsettling atmosphere, but with a more nuanced degree of post-rock instrumentation, while completely eschewing the iconic phone-call conversations in order to allow the version to stand on its own merits.
‘Bleed & Blister’ is a reliably fuzzed out original cut from Ontarios’ finest, but it’s the closing new contribution from Alexis, titled ‘Charlie Sheen Vs. Henry Rollins’, which has become a vital component of their discography in the years since, leading to much of the cult status that still surrounds The Switcheroo Series today. While one might argue the split EP is more of an essential addition for AOF fans due to the esteem their original track has since been held in, this is still a time capsule for fans placed in either camp, of a simpler, more playful time in early noughties punk and hardcore.
ZB
SOS Gunver Ryberg – Spine (Arterial Recordings)
Spine might be the first release on Sos Gunver Ryeberg’s own Arterial Recordings label, but it’s no tentative toe dip of an affair – more like a full on leap into the icy waters of true experimentation. The Danish producer is known for her frenetic live performances and where some artists from similar musical territory see an opportunity to fill space with very little substance, she’s done the exact opposite, condensing her absorbing worlds down into ten tracks that vary in mood and ingredients but pack in enough action to never let the more attention span deficient among us get anything even near fidgety.
Highlights include the title track, where sharp snare samples bash up against synthetic, rolling kicks and tense synthesiser spirals, the oozing and slightly woozy ‘Sensuous Sky’ and the thumping, almost but not quite regular polyrhythmia of ‘Out Of The Shadows’. That said, like a good live set it’s all about the light and shade, the terrain covered by the journey. In the case of the exquisitely designed sounds and inspired arrangements on Spine, it’s a sometimes smooth, sometimes bumpy but always rewarding trip to take.
BW
Lonnie Holley – Oh Me Oh My (Jagjaguwar)
Talk about deep dives. If 72-year-old Lonnie Holley has passed you by up until now, prepare for a transportive experience. Also known as the Sand Man, presumably due to the dreamlike qualities that seem to pervade his work, the artist is renowned in many circles of crafting, improvising, and assembling immersive environments of sound with found materials, recordings, and noises.
Oh Me Oh My, his latest outing and second for the Jagjaguwar stable, defines what we’re talking about. A slowly unveiled world of folk art that’s influenced by some of the Deep South culture he grew up around, his desire to never regurgitate is clear from the off, and instead pushes beyond with enviably original song craft and experimentation. Raised in Birmingham, Alabama, and the recipient of a particularly troubled childhood — ‘sold’ to another household for a bottle of whiskey, abuse by staff at the Mount Meigs correctional facility for boys, to name but two traumatic episodes — rather than piecing together tracks that focus on these chapters, Holley has always seemed more concerned with presenting redemptive works that pay tribute to the very human trait of overcoming adversity.
Products of perseverance, as oppose to regret and self-pity, the legendary cosmic southerner’s ability to write songs that are personal, intimate and focused one minute, far reaching and all-encompassing the next, is evident throughout this record. Calling on a number of grade-A collaborators — R.E.M.’s Michael Stipe, Sharon Von Eaten, Moor Mother, Bon Iver’s Justin Vernon and Rokia Koné — the overall impression is one of true majesty. An impressionist’s take on drawly blues, journeyman funk, and avant-garde folk, it gradually envelops the listener in a galaxy of ideas, movements spreading over your skin, finding their way into the mind through a form of hypnosis that grows more captivating each second.
MH
Jerome Hill – Flow Mechanics (Hypercolour)
With a pedigree longer than the combined Crufts entry list, it’s rather remarkable that Jerome Hill – he who started making killer tunes as one half of Groove Asylum back in 1998 – is only just droppping his debut album some 25 years later. As run ups go it’s a pretty lengthy one, and in keeping with that, Flow Mechanics covers a lot of distance when it does finally take to the air.
The increasingly essential Hypercolour label, previously known for top releases from Luke Vibert, DMX Krew, Shelley Parker and Gary Gritness but ultimately purveyors of eclectic rather than genre-confined grooves, is an inspired choice of home for Hill, as they’ve given him the freedom to let rip without getting too obsessed with whether the results fit into this or that scene. So while opening salvo ‘Walk The Plank’ lurches into action with a thumping kick drum and slowly opening acid house flourishes, sounding like the kind of thing you might have heard at Lost at 3AM back in the mid-90s, it’s only one of a number of different cards he has in his hand to play.
‘Brought Up Badly’ and ‘The Doctor Will See You Now’ both operate around a techno framework but both are delightfully non-conformist. the former using stretchy vocal samples to give it the kind of madcap vibe that Cheap Records made so much mileage out of, while the latter fuses a funky, shuffling and very un-techno rhythm to the 303s and brutal kicks. By the time we get to ‘Knob Jitter’ he’s onto distorted breaks that are half proto-jungle, half Paradinas/Aphex-style beat shredding.
Add a few daft, stoner-happy skits, and it feels like Jerome Hill has hit on the perfect recipe for long playing heaven – un-self conscious, unconventional and very hard to resist.
BW
This week’s reviewers: Martin Hewitt, Zach Buggy, Oli Warwick, Neil Mason.