Austerity Dogs’ is a dark, rough and ferocious album with a very comical side, looking at the state of Britain from the working class perspective at almost disbelief. 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. If you're looking for a few reference points, then imagine a stripped-down cross between John Cooper Clarke (minus the literary), Mark E Smith (minus the stream-of-consciousness), the street-punk likes of Cock Sparrer and Oi! fronting up to the BMX-riding estate kids ("Smash yer face, cunt, back into next week"), the possibility of catching chlamydia from using the "only phone on the road".

It should be on the school curriculum, and then maybe all those young kids that watch all that pish on TV (X-Factor) etc might then realise that there is real music out there and not just ear rotting, soul destroying drivel that they are force fed, beg steal of borrow this album and get listening! In an age where everything seems to have been done before, where so many bands seem happy to tread over old ground, and where as a listener it sometimes feels a bit like you're grateful to just find a band that at least treads over that old ground with new shoes, 'Austerity Dogs' is a kick aimed squarely and with extreme firmness up your musical arse. Sleaford Mods is an English music duo based in Nottingham, composed of vocalist Jason Williamson and musician Andrew Robert Lindsay Fearn (since 2012). A band just as comfortable sharing the Temples festival bill with the likes of Electric Wizard and Neurosis as they are alongside Nick Cave, Iggy Pop and Deborah Harry on the forthcoming Jeffrey Lee Pierce Sessions album 'Axels And Sockets'. It all sounds mundane and coarse, but that is the charm and also it serves a colossal purpose; it encapsulates the imagery and environment of working class Britain and fuses with Williamson’s impassioned, irate vocal rants about Boris Johnson and Gordon Brown being ‘wankers’ on the track ‘My Jampandy’.

The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. We carry a broad range of CDs and vinyl (7”/12” singles and LPs) and specialise in indie, alternative, rock, punk, metal plus a few other genres. Closer listening (to Jason Williamson’s lyrics), reveals wit and humour in abundance mixed with clever word play - a harsh realistic ‘tails’ to Shaun Ryder’s hedonistic ‘heads’.

Black Moth are four super talented individuals, Harriet Bevan - vocals, Jim Swainston - guitar, Dave Vachon - bass, and Dom McCready, battering the crap out of his drums. Brilliant," I thought, "more wannabe 'Mod' twats selling that line about how important it is in working class culture to wear a sharp coat. Some hiss and surface noise on this pressing, at least through headphones, not a lot but far from being dead quiet.

A turbulent brew with just as much 60s garage rock bite, head-spinning psychedelia and '1991-The-Year-That-Punk-Broke' grit to offer as Vinum Sabbathi riffage. They're like an updated version of his stuff using current language in a very street wise naturalistic way - which isn't everyone's cup of tea, but is very honest. It is a high octane and unrelenting blitzkrieg, railing against all things banal and vacuous in today’s world. This lends the record an uncomfortable cubism – a hotchpotch of half-remembered impressions from the night before coming into relief through the hangover's haze: a disorienting miasma of contemporary bullshit.