Eton Alive

Eton Alive is but another visceral and impetuous take on a grim political reality. [Mar 2019, p.58]

The lyrics continue to take a few listens to fully digest (beyond the regular laugh-out-loud moments), as do Fearn’s often misleadingly direct grooves. His basslines sound particularly mighty here, and Williamson’s vitriol (which fills most of the record) continues to be very much needed in contemporary Britain.

Sleaford Mods' eleventh album is a remarkable leap on from 2017's English Tapas, a record of consolidation that addressed the strange situation that the duo found themselves in--going from a niche concern more accustomed to playing alongside noise artists suddenly given column inches and selling out massive venues. This progress has come hand in hand with a keener knack for more fully developed tunes to bolster Williamson's hectoring. It is also, frequently, a hilarious record.

Andrew Fearn’s soundscapes, meanwhile, improve with each album. Particularly potent is the ominous post-punk bassline he deploys on OBCT; even what sounds suspiciously like a kazoo solo towards the end can’t puncture its sense of menace.

Though it's more than a little contrary that their first album on their own label is more melodic and emotionally immediate than their work for Rough Trade, it's one of many moves on Eton Alive that are pure Sleaford Mods.

Eton Alive captures the self-proclaimed “Best Band in the World” as wide-awake as ever, dolloping fun all over their music like it’s Daddies Brown Sauce.

As ever, Sleaford Mods are a voice that must be heard.

This is a record that expands the idea of what Sleaford Mods could be.

Taking chances while renewing and enhancing their inimitable sound, Eton Alive is a belch in the face of the architects of austerity, a cry of sheer life amid an increasingly deadening environment.

Razorwire-sharp and reflexive, Eton Alive sees Sleaford Mods knowingly take the existential dare once more, and mostly win.

Cathartic in its honesty but no less depressing for that. [Mar 2019, p.33]

Instrumentally, this record doesn't do anything revelatory that distinguishes it from their other releases. However, in maintaining their usual glitchy post-punk instrumentals with this clearer lyrical concept, the duo emphasize the emptiness of the automated economy.

It's a unique kind of unhappy listening, too toxic on the universal scale to be bled out. But it leaves you galvanised, purged and recharged for the unending war against mediocrity. [Mar 2019, p.90]

Sometimes a joke starts wearing thin, but goes on so long that it comes back around. And Eton Alive is a pretty great punchline. Not everything has to be escapist or explicitly political--sometimes you just want to hear people make gags about a world that you recognise. It’s cathartic, it’s entertaining. It says: you exist. Eton Alive makes Sleaford Mods funny again.