Sleaford Mods
Spare Ribs

It's been almost six years since "Key Markets," the release that deservedly launched Sleaford Mods onto the big stages once and for all.

A lot of water has passed under the bridge since then...
A few years ago they released "English Tapas," an album that marks the duo's definitive consecration. They have also proven to be quite prolific, as "Eton Alive" was released in the meantime.

Personally, the release of the latter left me quite disappointed, as I found it to be a passable but quite underwhelming album, lacking in key tracks, except for a couple of really great ones. But the album never really takes off.
Jason Williamson's lyrics are always on point, there's no doubt about that and they are unassailable, but from a musical (and structural) point of view, it almost verges on the boring.

But then the new year arrives along with "Spare Ribs," released just two weeks ago.
Undoubtedly inspired by the COVID-19 situation, with the pandemic at its peak during the period it was written and recorded, Sleaford Mods have found new vitality, freshness, and more reasons to go all out, as always. The core themes remain the critique of the British socio-political situation, as usual, but they never miss the chance to attack social media as well.

"Spare Ribs" is just what the duo needed most, I'll say that right away.
While remaining true to their traditions and origins, they challenge themselves by experimenting with rather colorful soundscapes: on one hand, the minimalist Post-Punk basslines that have characterized them from the beginning are not missing, providing the backdrop for Williamson's vitriolic lyrics, but this time there's more electronic influence.
The electronic influence spans multiple sounds, showcasing various musical facades of the duo: if on the title track "Spare Ribs" and "All Day Ticket" they come up with decidedly Dance-Punk bases that can only remind one of LCD Soundsystem and Death From Above (especially the title track), on "I Don't Rate You" the tones become darker and more acidic, almost hypnotic, with splashes of glitch here and there.
Dark and mysterious is also "Mork n Mindy", a track featuring Billy Nomates as a guest (!) and she proves to be a perfect ally, adding further freshness to the sound of a track that can be said to be one of the most successful on the album, hands down. Whiffs of Merzbow's "Amlux," just throwing it out there.
Another guest is Amy Taylor on the single "Nudge It", a less successful collaboration than the one just mentioned but which nonetheless contributes positively to the new elements proposed.
There's even room for the dark-like ballad "Fishcakes" to wrap it all up.

Sleaford Mods have returned with a bang, riding a wave of small changes and stylistic evolutions.
They have truly created a fusion of colors, tones, and flavors with this musical offering, capable of satisfying various tastes.
If "Eton Alive" left me with a bit of a bitter taste, it has now completely vanished.