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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Sleaford Mods
Title | Key Markets
Genre | Alternative Format | Album
Source | CDDA Time | 39:22
Label | Harbinger Sound Store | 2015
Catalog | HARBINGER150CD Rip | 2015
Bitrate | 225 kbps Size | 66.52 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Live Tonight 3:11
02. No Ones Bothered 2:52
03. Bronx In A Six 3:35
04. Silly Me 3:14
05. Cunt Make It Up 2:30
06. Face To Faces 3:23
07. Arabia 3:01
08. In Quiet Streets 4:15
09. Tarantula Deadly Cargo 3:21
10. Rupert Trousers 3:13
11. Giddy On The Ciggies 4:14
12. The Blob 2:33
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
British hip-hop/punk act Sleaford Mods began in 2006 as the recording
project of Nottingham vocalist and musician Jason Williamson. The initial
seed of the band's aggressive, no-nonsense, blue-collar sound was worked
out by Williamson over the first couple of years both in the studio and at
occasional gigs, where he would rap over prerecorded beats and samples.
After relocating to London for a time, he returned to Nottingham, where he
met Andrew Fearn, a veteran musician who was DJ'ing at the time. The two
joined forces in 2010 with Fearn taking on most of the backing tracks,
freeing up Williamson to further evolve as a vocalist and lyricist.
The acclaim for Sleaford Mods' work grew nearly as quickly as their body of
work: Jason Williamson and Andrew Fearn recorded Key Markets around the
time that Divide and Exit and Chubbed Up began appearing on "Best of 2014"
lists. Fortunately, their speedy ascent didn't affect their approach or
attitude; in fact, Key Markets might be even more pissed-off and contrary
than their breakthrough album. While they may not have intended it as such,
Divide and Exit was a major statement on 21st century dysfunction, full of
pungent descriptions of frustrations big and small that struck a nerve with
listeners worldwide.
As hinted at by its title, "Key Markets" - named after a grocery store
Williamson's mother took him to in the 70s and 80s - is more personal and
insular, offering grimy close-ups instead of panoramas. He takes aim at the
local music scene on "Live Tonight" and someone in it on "Cunt Make It Up,"
which features a memorable takedown: 'Ya look like Rocket from the Crypt
meets an old codger with one leg'. Williamson's rants are often more direct
and less poetic than they were on Divide and Exit, but picturesque speech
abounds, ranging from turns of phrase like 'all gone quiet on the wanker
front' to his description of himself as 'a little moaning arse fart blowing
smoke' over seedy keyboard stabs on "Arabia." Indeed, musically speaking,
"Key Markets" might be even more stripped down than either of Sleaford
Mods' 2014 releases.
As always, the crudeness is the point - this is the sound of running out of
patience - but Fearn's backdrops more than hold up to Williamson's
diatribes, and even offer a few flourishes. "Silly Me" dabbles in
electro-funk, while "Tarantula Deadly Cargo" is an oddly compelling
post-punk grind with a more live feel than most of the Mods' output. As
wittily as Williamson and Fearn tackle "Key Markets" smaller subjects,
several of the best songs take aim at bigger targets, whether it's the
outrageous behavior of politicians and pop stars on "Face to Faces," the
complacency of "No One's Bothered," or the existential dread of "The Blob,"
which echoes the literal and figurative horror that made Divide and Exit so
potent. While that was the album Sleaford Mods needed to make to gain a
wide audience, "Key Markets" is the one that tells their listeners that
they'll never stop raging against stupidity.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘