The latest release from Sleaford Mods stands as a voice for independent music in a sea of chaos. Released on Rough Trade Records, All That Glue spans across the entire 7-year career of electronic punks Sleaford Mods. The collection containing both known and unknown songs delves into the depths of political anger, frustration, poverty, honesty, and uselessness. The Sprechgesang vocals of Jason Williamson and the repetitive electronic beat combine to create the essence of Sleaford Mods. Seemingly random song titles actually have hidden depth, they ooze meaning and honesty. Including familiar titles from masterpieces Key Markets and Eton Alive, still as relatable today as they were upon first release. All That Glue is evidence in showing that Sleaford Mods are timeless in calling out politics and society.
Punk, Politics and Privation
“Music for the masses”, splutters Williamson on ‘McFlurry’, echoing the Labour Party mantra ‘For the many, not the few’. ‘McFlurry’ is from Austerity Dogs, released in 2013 nearing the end of the 5-year UK recession. The commercialisation theme throughout ‘McFlurry’ stems from references to the McDonald’s franchise to the Brit Awards. “Slam dunk concrete record deal/ it’s bound to sink/ under the blue rule/ where the cuts make people stink” alludes to favouritism of larger commercial successes over independent music, with outspokenness unwelcome. The other song from Austerity Dogs that appears on All That Glue is ‘Fizzy’, where Williamson lyrically berates workplace hierarchy. “Don’t send me home with a glint in my eye/ I told my family about the fucking wage rise/ and I got fucked on” reprimands false promises. With allusions made to deprivation all over the UK at the hands of the workplace, society is seemingly dystopian.
The Voice of Independent Success
The collection of new songs on All That Glue are the ones that focus on present day. Songs from Key Markets and Austerity Dogs are revolutionary. However, the lyrics of All That Glue coincide with society today. ‘Blog Maggot’ emphasises the line between commercial success and independent success. “If you look like you’re winning/ fuck you mate/ what you winning?”. They ask the question of “what is success?”; money? power? From the examples set for us, it equals neither. For instance, the Covid-19 pandemic has caused a lot of independent business to face potential closure due to lack of profit and funding. With Sleaford Mods now the voice of independent music, they search for government support to save the industry we need. “YouTube twat, if I ever meet the c*** I’ll bite his fucking head flat” spits Williamson at the YouTuber surge, completely disregarding commercial success as an art form.
“Pocket Reacher”
The theme of commercialisation is particularly present throughout All That Glue with portrayals of vehement disgust. “The road ain’t long, it’s short for the sellout”, accuses mainstream pop star Jessie J of selling out. However, where is Jessie J now? We don’t know? Exactly. Commercial pop glazes over societal issues, the complete opposite to what Sleaford Mods set out to do. Sellout musicians who give into the mainstream literally sell their souls, working on pleasing companies and audiences first and foremost. Therefore, the sellout aspect naturally becomes more apparent to us in music. The chorus skulks “Who didn’t have things to do, the revenue of all of you is overdue”, with the shunning of the working-class in favour of materialistic success being extraordinarily common. The common nature of materialism from commercial musicianship causes truth and loyalty to take a step back.
No One’s Bothered: Independent Music
Released on Key Markets in 2015, ‘No One’s Bothered’ is one of Sleaford Mods’ most well-known tracks. However, there is a slight twist in All That Glue in the form of a slowed down version of their beloved single, renamed ‘Slow One’s Bothered’. “Victory for no one, hate as much as bleeds/ the dark through the go on, dead up from the knees”, as at the end of it all, nobody wins anything. Money means nothing and power is clueless. The slow version of ‘No One’s Bothered’ and the re-releases on All That Glue emphasise that they are more than relevant, and that there hasn’t been much change since they are still necessary now. Unfortunately, the lyrics are more than relevant in our current climate. With many unprotected and unthought of throughout Covid-19, the song demands answers from those in power who were, above all, meant to protect us.
Finally, the songs that appear on All That Glue are all the more revolutionary as they were when originally released. With Sleaford Mods having become the voice of independent music, they demand answers from the government. By re-releasing songs from Key Markets and Austerity Dogs, they further prove the point that those in power overlook independent music. All That Glue is revolutionary in our current climate that people are suffering, and that independent music is the voice we need. Realise it or not, Sleaford Mods are paving the way to better things. The voice of the many, not the few.