Reliably sweary, Sleaford Mods aren't actually Mods at all - despite vocalist Jason Williamson's love of sharp dressing - but, rather, a malign take on English punk that brings minimalist electronics and American hip-hop influences to the table.
It's abrasive, confrontational, highly politicised and highly original. Garnering critical praise for years now (including our own Album of the Year accolade in 2013 for Austerity Dogs), Sleaford Mods have moved from the grottiest pubs of the UK music scene to being a very big deal indeed. And despite the snarls, lovely fellas they are too.
If you've heard one Sleaford Mods record, you should know the deal: a sparse, brooding beat whittles away as Williamson purveys the scene, biting sardonically into every detail, seen or unseen, of a dreary scene. His politics are omniscient, focusing on the minutiae of British livelihood, zooming in on where policy failure has trickled down. Sometimes it's just about beer and calling people rude names; that's all it takes to make a statement, sometimes, Williamson making his discontent an all-consuming buzzword. Recent records have seen them retain their sound with little fuss, keeping the reliable backbone on call for new and updated social commentary. What could they possibly talk about next?