Sleaford Mods and Fever Ray lead the week's best album releases

PA Reporters


Sleaford Mods promised an album for people at their wits’ end and they didn’t disappoint. With contributions from Jane’s Addiction and Florence Shaw, Nottingham vocalist Jason Williamson and producer Andrew Fearn fire out a slew of anti-establishment lyrics on new album UK Grim.

The record sees the duo hammering out their signature gritty electronic, minimalist sound, complete with humorous observations, appealing to those disillusioned with post-pandemic blues.

With echoes of John Lydon, the duo seize the spirit of the day – there’s Smash Each Other Up evangelising against the Tories.

Tilldipper electrifies with its high-energy beats and charged-up lyrics, and Tory Kong roars furiously at people who “don’t want to go to that island” and beat the same drum as the political establishment.

It doesn’t matter that the music stops and starts between tracks, or that the album’s basic sound presents no new direction for the band.

What truly matters is that Sleaford Mods are slayers of the system and heroes of the underdog.




Fever Ray’s third album accelerates into the future, all distorted electronics and scurrying beats, a welcome return for the uncompromising vision of Karin Dreijer.

They started honing their singular artistic journey that began at the start of the century as The Knife with their brother Olof Dreijer, who co-produces and co-writes four songs here.

They include opener What They Call Us, starting with Karin singing: “First I’d like to say that I’m sorry, I’ve done all the tricks that I can”.

Carbon Dioxide is a standout, the most straightforward track with electro-pop beats while Tapping Fingers is an ominous ballad, cloaked in mysterious synths.

Mostly the music is as radical as the album title suggests, constructed from blips, twangs, squeaks and leftfield beats with sometimes treated vocals, yet is never a difficult listen.

Lyrics tend towards the elliptical, apart from startling revenge fantasy Even It Out, “for bullying my kid in high school … and we know where you live, one day we may come after you”, featuring Trent Reznor and Atticus Ross.

Album closer Bottom Of The Ocean, the longest track at more than seven minutes, dispenses with words entirely, Dreijer signing off with a series of vocal sounds.

Fever Ray is known for their visuals, striking videos and an unforgettable live lightshow, and there’s a rare tour coming, including Glastonbury.




The fifth album in as many years from Altin Gun sees them triumphantly return to the folk-rock sound that dominated their first two records.

On Ask, the Amsterdam-based Grammy-nominated sextet joyfully reinvent 10 traditional Turkish folk tunes, adding their celebrated psychedelic twist.

Known for their energetic live performances, their latest album attempts to capture this energy through traditional recording techniques and vintage equipment, with bassist Jasper Verhulst describing it as “almost like a live album”.

Slide guitar and electronic saz dominate the opening stages of the album.

Su Siziyor presents a reggae-funk beat and Merve Dasdemir provides playful vocals, while 70s psych-folk prevails on Cit Cit Cedene.

Canim Oy offers joyous psychedelic-infused riffing, before the pace is slowed through dreamy acid-folk number Guzelligin On Para Etmez.

An English translation of a line in Rakiya Su Katamam sums up the band’s mission, with Dasdemir encouraging, “Dance, so we enjoy ourselves”.

Through successfully fusing genres together, Ask provides the welcoming warmth of an Anatolian summer evening.




Rising star Mimi Webb has said she wants to display her two sides on her debut album – Mimi the performer and Amelia the homely country girl.

The record is full of catchy and enjoyable pop songs, and although her vocal style is arguably similar to contemporaries such as Tate McRae, she displays enough talent to hold her own in a crowded field.

Last Train To London is a standout. With heart-wrenching piano and emotional lyrics, Webb’s powerful vocals are highlighted and bound to stun audiences in a live setting.

Is It Possible offers a nice change in sound, incorporating strings, drums and guitar.

The title track plays the album out nicely as Webb talks to her younger self over an acoustic guitar.

Amelia is a strong debut with a tuneful, if uneven, blend of energetic pop and slower songs that emphasise Webb’s current talent and growing potential.