Sleaford Mods' 13th LP sees Jason Williamson and Andrew Fearn maintaining their signature blend of potty-mouthed irreverence, but with a notable expansion in emotional depth. The album's commentary on societal ills, from the digital age to the rise of far-right extremism, is still biting, yet the duo now offers glimpses of vulnerability through carefully crafted lyrics.
Williamson, known for his brusque persona, reveals a more human side on tracks like Gina Was, which recounts a childhood trauma. The narrative showcases a new level of emotional sophistication, adding weight to an already biting critique of societal norms. Meanwhile, Fearn's production continues to evolve, incorporating classical strings and collaborating with a wider range of musicians.
The result is an album that not only holds to Sleaford Mods' standard but also begins to broaden their appeal through its increased emotional resonance. The juxtaposition of Williamson's gruff demeanor with Game of Thrones star Gwendoline Christie's furious rap on Double Diamond is particularly noteworthy, creating one of the duo's most hauntingly catchy tracks.
The highlight of the album comes in the form of No Touch, a track where Sue Tompkins' teasing vocals bring out the more relatable side of Williamson. The comical bickering between the two musicians humanizes their on-stage persona, and "You're not miserable, you're nice," she playfully tells him, as he protests – unconvincingly. This added depth underscores Sleaford Mods' versatility, solidifying their position as more than just provocateurs but also storytellers with a nuanced perspective.
Williamson, known for his brusque persona, reveals a more human side on tracks like Gina Was, which recounts a childhood trauma. The narrative showcases a new level of emotional sophistication, adding weight to an already biting critique of societal norms. Meanwhile, Fearn's production continues to evolve, incorporating classical strings and collaborating with a wider range of musicians.
The result is an album that not only holds to Sleaford Mods' standard but also begins to broaden their appeal through its increased emotional resonance. The juxtaposition of Williamson's gruff demeanor with Game of Thrones star Gwendoline Christie's furious rap on Double Diamond is particularly noteworthy, creating one of the duo's most hauntingly catchy tracks.
The highlight of the album comes in the form of No Touch, a track where Sue Tompkins' teasing vocals bring out the more relatable side of Williamson. The comical bickering between the two musicians humanizes their on-stage persona, and "You're not miserable, you're nice," she playfully tells him, as he protests – unconvincingly. This added depth underscores Sleaford Mods' versatility, solidifying their position as more than just provocateurs but also storytellers with a nuanced perspective.
The way Jason Williamson is opening up about his personal life on tracks like Gina Was is so impressive - it's like we're getting a glimpse into the real him, you know? And Andrew Fearn's production is still on point, but I'm loving how he's experimenting with different sounds and collaborating with other musicians 
The way they balance out their signature irreverence with vulnerability is really paying off. It's like they're saying, "Hey, we might be a bit rough around the edges, but we've got feelings too 
" And that track No Touch is just pure genius - Sue Tompkins and Jason go back and forth like an old married couple 
What do you guys think of their new album?
- I mean, what's wrong with being provocative and talking about the tough stuff? 
But at the same time, can't we all just relax and not be so sensitive about it? 
I love how Jason Williamson is finally showing his vulnerable side, though. It makes me feel like he's more human and less...erm, gruff and prickly 
. And that Game of Thrones cameo? Obsessed 
! The way the strings kick in on Double Diamond gives me chills every time 
It's a bit too much for me... maybe I'm just overthinking it 
they're still bringing the same level of energy and bite as before, but this time there's a whole lot more heart and vulnerability on display 
jason williamson's been hiding his softer side all these years and it's beautiful to see him opening up about his childhood traumas on tracks like gina was 
meanwhile andrew fearn's production is getting even more innovative, incorporating classical strings and collaborating with other musicians 
The thing that really stands out is how Jason Williamson, the frontman, opens up on some super personal tracks... it's amazing to hear him share his vulnerability like that. And let's be real, Gwendoline Christie killing it on Double Diamond is EVERYTHING 
I love how they balance their signature irreverence with this new level of emotional depth – it makes for such a compelling listen. No Touch is my jam too! The way Sue Tompkins teases Williamson and gets him all riled up... I die 
It's like we're getting a whole different side of the Sleaford Mods we know and love.
. But at the same time, I'm still loving their irreverent attitude and willingness to call BS when we need it 
. What do you guys think about this new direction? 
. The way they tackle big issues like social media and extremism is still super on point, but it's great to see them being vulnerable too - it makes all the difference in making the music feel more real. I love how Sue Tompkins' vocals bring out a different side of Williamson, it's like we're getting two sides of him at once 
. The whole album just feels more mature and nuanced, it's not just about being loud and obnoxious (although it's still super fun 
). I'm so hyped for this new direction, Sleaford Mods is about to make a whole lot of people feel less alone 
.
. I also appreciate how Andrew Fearn's production has evolved, incorporating classical elements to add an extra layer of complexity to their sound 
.
. i love how it humanizes them as artists, shows us there's more to 'em than just the angry persona 
'gina was' is like this emotional rollercoaster ride that had me feeling all the feels. Andrew Fearn's production is also on point, i love how they're experimenting with different sounds now 
. And Andrew Fearn's production is still fire 
But what really gets me is the dynamic between Williamson and Sue Tompkins on No Touch 
their banter is hilarious, but also makes you feel all the feels 
and it makes the whole thing feel more relatable & human