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Nov 21, 2014The resulting album is an intense, visceral experience. It manages to combine the aggression of both punk and hip-hop.
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Q MagazineMay 20, 2014With Williamson delivering street-ranter streams of consciousness over Andrew Fearn's frigid post-punk/jip-hop productions, it's possibly not for the casual listener out for a few laughs but there's much to invigorate in its unaffected, defiant slagging of hated jobs, metropolitan hipsters, Twitter and more. [Jun 2014, p.120]
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MojoMay 15, 2014The delivery is relentless. [Jun 2014, p.86]
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The WireMay 8, 2014It isn't always the role of political music to come up with solutions. But nothing could be more urgent than the questions SLeaford Mods pose. [Apr 2014, p.58]
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May 2, 2014Divide And Exit is a record that demands you sit up and pay attention, unable to do anything else while it's on, a ticker-tape of frustration and smart tension blocking out peripheral vision.
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May 1, 2014Escapism’s one thing, but we need artists to sneer at the stars and sing songs about the gutter, and right now no-one does it like Sleaford Mods.
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May 1, 2014While not quite equal to its predecessor, Divide And Exit offers plenty to get your teeth into.
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May 1, 2014It's essentially angry swearing atop rudimentary bedroom synth sounds. But that would be reckoning without Jason Williamson's supremely entertaining delivery.
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May 8, 2014The works are raw and technically poor, but the bitterness and hatred they express is overwhelming, illustrating how base feeling, when expressed with such belief, can overcome any window dressing put up around it.
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May 27, 2014Divide and Exit is their most consistent record, but this is not music with a wide range.
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UncutMay 1, 2014The Streets' Original Pirate Material crossbred with The Fall's Grotesque, it's nasty and brutish, but mercifully short. [Jun 2014, p.83]
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