On their 13th studio album, the incendiary British duo Sleaford Mods continue their visceral commentary on modern Britain, but with a surprising new depth that is set to widen their audience. 'The Demise of Planet X' sees the established formula of Jason Williamson's furious spoken-word and Andrew Fearn's minimalist electronics evolve, introducing moments of raw vulnerability and unexpected musical collaboration.
A Familiar Fury with Newfound Depth
For over a decade, Sleaford Mods have soundtracked national disillusionment, chronicling everything from the financial crash and austerity to Brexit and the rise of the far right with a blend of bleak humour and absurdist observation. Their journey from DIY roots to the Top 5 of the album charts is built on this unflinching perspective.
On this new LP, Jason Williamson remains convincingly baffled and infuriated by the world around him. His lyrics dissect empty digital-age existences, the chaos of Trump's America, and even the minor irritants of daily British life, all delivered with his characteristically potty-mouthed zeal.
Subtle Shifts in Sound and Sentiment
The album's most significant developments, however, lie in its emotional and musical range. Williamson displays a startling new vulnerability on tracks like 'Gina Was', which harrowingly recounts a childhood incident. This glimpse behind the familiar grumpy facade adds a compelling new layer to his persona.
Meanwhile, Andrew Fearn subtly expands his production palette. Moving beyond their signature electro-punk, he incorporates classical strings on 'Double Diamond' and orchestrates a broader range of guest contributors. This versatility provides a fresh backdrop for Williamson's rants without softening the duo's essential impact.
Unexpected Collaborations Yield Haunting Results
The collaborative tracks stand as some of the album's most memorable moments. 'The Good Life' is a particular highlight, combining Williamson's diatribe with a furious rap from Game of Thrones actor Gwendoline Christie and David Bowie-esque crooning from Big Special's vocalist. The result is one of the most hauntingly catchy pieces in their catalogue.
The album's charming peak arrives with 'No Touch', featuring former Life Without Buildings singer Sue Tompkins. The pair sound like a comically bickering soap opera couple, with Tompkins teasing out the nicer human being hidden behind Williamson's defensive snarl. Her playful insistence—"You're not miserable, you're nice"—as he unconvincingly protests, adds a warm, human dimension rarely seen in their work.
With 'The Demise of Planet X', Sleaford Mods have not abandoned the furious, funny commentary that built their reputation. Instead, they have enriched it, proving that their potty-mouthed appeal can encompass a greater emotional and musical spectrum, promising to engage both long-time fans and new listeners alike.
