To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Austerity Dogs' is an unhinged, greasy blast of realism gobbing at a dying world staffed by utter tools. Hard not to like the whole album as it is a stinging wake up and listen slap, that makes a change from pseudo tough nut bands. The cover is a matte finish and as a result has a nice, Xerox feeling to it with the black and white images and handwritten track list etc. 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.

It somehow adds to the rawness of Sleaford Mods, but might piss audiophiles, Outer sleeve and laminated inner sleeve feel great, though. Review Summary: Austerity Dogs is a strong, ferocious debut by the post-punk/hip-hop duo from Nottingham, UK, with plenty to shout and argue about in working class Britain. The subjects of the lyrics usually focus around modern working life, unemployment, the criticism of celebrities and just working class banter. All image and audio content is used by permission of the copyright holders or their agents, and/or according to fair dealing as per the UK Copyright, Designs and Patents Act 1988.Punk mit Rap plus Geklapper oder Eindreschen auf "Schlagzeug" (oder sind's Kochtöpfe oder Güllekübel? But where Seaton had that individualistic nihilism that so inspired Arctic Monkeys, Sleaford Mods know that you rise as a class or you don't rise at all: "movin' up in the world doesn't mean using the lift, mate/What floor do you want? So instead of Arthur Seaton, I want to suggest that Sleaford Mods carries on the tradition of another working class figure strongly associated with Nottingham – Ray Gosling, who passed away on November 19th.

By accepting these digital cookies we can suggest and market exactly the kind of records and artists You are interested in. 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.Jason Williamson's earthy, aggressive street-poetry fits the rumbling bass, skittering drum machine and skeletal samples/rhythms like a glove. The society I live is mine" – it reads – "open to my voice and action, or I do not live there at all.

With both the 'South London Boroughs' and 'Distant Lghts' EPs now out of print and likely to remain that way, this limited edition two-wax pack offers the only way to get your Burial fix in club-ready configuration, but it won't be around for ever as the ever-elusive producer is near to completing his next opus, at which point this changes tense from present to past.Months ago, back when I first started seeing this album on this site, I had it judged by its cover, title and band name.

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. minus any racism), and maybe a touch here and there of Wu-Tang (minus, well, anything American whatsoever).You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term. 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.