{"id":8077,"date":"2023-03-20T08:59:30","date_gmt":"2023-03-20T12:59:30","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=8077"},"modified":"2023-03-20T08:59:30","modified_gmt":"2023-03-20T12:59:30","slug":"sleaford-mods","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/sleaford-mods\/","title":{"rendered":"Sleaford Mods"},"content":{"rendered":"

\"Sleaford<\/a><\/p>\n

Since teaming up in 2009, vocalist Jason Williamson and musical brain trust Andrew Fearn, a.k.a. Sleaford Mods, have carved out their own niche. Theirs is an idiosyncratic mix of grimy hip-hop and electronic post-punk minimalism laced with invective lyrics that touch on such subjects as class, politics, musical voyeurism, and personal relations. Recorded during the pandemic times of 2021, the band\u2019s eighth album (if you don\u2019t count the ones that came out before Fearn entered the picture), UK Grim<\/i> (Rough Trade Records) doesn\u2019t alter that formula too drastically but shows the Mods subtly expanding their palette musically. Lyrically this time around, Williamson not only takes on familiar Tory targets and unoriginal white bloke aggro bands, but even some of his own faults.<\/p>\n

I caught up with Williamson and Fearn via Zoom at the tail end of a long day of doing press a week before the record\u2019s release.<\/p>\n

Did you have a firm idea of what you wanted to do when you started Sleaford Mods?<\/strong><\/p>\n

Jason Williamson:<\/strong> Yeah, talk over beats, sort of scream over them, kind of punky. That was the idea so when I hit on it and it worked, I was impressed. It worked right from the off. The only thing that was lacking was the music. It became quite apparent that using loops from other records was not going to sustain it.<\/p>\n

What were your points of reference? I hear everything from The Fall to The Streets in what you do.<\/strong><\/p>\n

JW:<\/b> I wasn\u2019t a Fall fan. Andrew was more aware of them. I was more of a Streets fan, but I can see why people would draw that comparison.<\/p>\n

I know you were kind of roughing it for a while as far as your living situation. Was it a matter of being a starving artist or was it more circumstantial?<\/strong><\/p>\n

JW:<\/b> It was a bit of both, really. I never had any money, and what money I had, I ended up spending on drugs. So I ended up sofa-surfing for a while. Both myself and Andrew dedicated our lives to making music and didn\u2019t surround ourselves with a lot of tat, so we had the freedom to do music, study it, and do something with it. It\u2019s just unfortunate that sometimes life got so boring that I\u2019d have to spend my money on drugs and getting drunk, which was most of the time.<\/p>\n

You mentioned how it wasn\u2019t working musically at first, and I noticed in another interview you referred to Spare Ribs<\/i> as the sixth album. Do you not really consider those early records Sleaford Mods records?<\/strong><\/p>\n

JW:<\/b> I did, but once Andrew came on board it became what Sleaford Mods should be. It took us about a year before it started to get interesting, but then it became clear that was what Sleaford Mods should have been. But saying that, before Andrew came on, I learned how to write, produce a bit, and how to formulate songs, so it was still an important period for my own skillset, you know what I mean?<\/p>\n

Yeah, did you have an epiphanic moment, where it was like \u201cthis is it\u201d?<\/strong><\/p>\n

JW:<\/b> Yeah, as soon as I found my voice. Just after a while, it became apparent that I needed organic, original music underneath my voice. But yeah, there was a eureka moment at the start, purely because I found myself in music.<\/p>\n

How do you tend to collaborate? Do you have much input on what each other is doing or do you work separately and then come together?<\/strong><\/p>\n

JW:<\/b> It\u2019s been half-and-half. I go with Andrew\u2019s suggestions a lot of the time because it usually turns out really well. And we do collaborate more like that these days, whereas before Andrew had the music and I had the words. It\u2019s become more interlinked.<\/p>\n

Do you have veto power over what the other one does?<\/strong><\/p>\n

JW:<\/b> No, we allow each other to do various bits. I\u2019m not really bothered about mixing it or bothered about buying equipment to come up with various sounds. And Andrew\u2019s not really bothered about tracklisting or about the lyrics or the formulation of the song. He\u2019ll speak up if something\u2019s not right, but we both usually know when something\u2019s not right. We\u2019ve become finely tuned to the working process.<\/p>\n

To me, Sleaford Mods seems distinctly British, especially the way that you talk about class. We don\u2019t really do that here the same way. Are you surprised that the band has caught on in America?<\/strong><\/p>\n

JW:<\/b> In some respects yes, but in other respects no because it\u2019s just good pop music. The way we write, the songs have hooks and anyone anywhere in the world can appreciate a good hook. We have familiar aesthetics, a mixture of hip-hop and punk. So no, not really. It\u2019s weird because Canada and the US are completely different countries. They\u2019re English-speaking but the cultures are completely different (from the UK).<\/p>\n

Did coming to the States and seeing how fucked things are here change your perspective at all?<\/strong><\/p>\n

JW:<\/b> I didn\u2019t really think much about America\u2019s problems when I was there. I just found that it reminded me of England a lot, in the sense of the forgotten small towns where the people are completely obscure. It\u2019s such a massive expanse of land.<\/p>\n

Andrew Fearn:<\/b> Yeah, when we were driving around, some of the roads were completely fucked. And we drove past one of those awful McDonald’s cow farms. It was quite crazy.<\/p>\n

JW:<\/b> I found a lot of parallels. You say that the class system is more overlooked there, but I found you really could see what I perceived to be working-class areas.<\/p>\n

You\u2019ve talked about other bands taking on working-class airs before. Do you see that as cultural appropriation along the lines of a white guy playing the blues?<\/strong><\/p>\n

JW:<\/b> That\u2019s a tough one, isn\u2019t it? It\u2019s definitely a thing, though not as much because people have become more savvy. But I have the impression that some people use other people\u2019s narratives without having experienced those narratives, whether that be class experience or anything else. But you can\u2019t prove anything and you can\u2019t say anything without being accused of this, that, or the other. We\u2019re definitely exposed to more middle-class acts in this country. When it comes to white music and indie music, it\u2019s dominated by people who have sort of gentrified, soft accents. Sometimes it\u2019s not so black and white, but there are definitely people who borrow other people\u2019s narratives, whether they\u2019re conscious of it or not. And I think that\u2019s wrong. You have to churn out your own existence because then what you create will become powerful, much more than hitching on someone else\u2019s scene. Class appropriation is just one aspect of it. It\u2019s experience appropriation, whether or not that experience is linked to class, which is a lot of the time.<\/p>\n

As you\u2019ve progressed and taken on different subject matters, does it become difficult to find things to rail against?<\/strong><\/p>\n

JW:<\/b> No, there\u2019s always something. It\u2019s not like I go looking for it. There are a lot of things in this entertainment game that are very tedious, and a lot of people\u2019s stories and presentations are just boring. That in and of itself can cause frustration. There\u2019s a wealth of information out there to turn into some powerful creativity and a lot of people don\u2019t bother. They just turn out the same shit, the same clich\u00e9d mannerisms, the same poses. That\u2019s just one thing to get pissed off about\u2014there\u2019s a load of things. It\u2019s not just about being angry, but I find the idea of anger far more interesting as a component to a song.<\/p>\n

Yeah, as John Lydon said, \u201cAnger is an energy.\u201d<\/strong><\/p>\n

JW:<\/b> Yeah, the king so to speak. I\u2019ve got a lot of time for John Lydon, politics aside. I\u2019m into that stuff. It works better for me than trying to sing like Neil Young, though we did try that a little bit on this album.<\/p>\n

I didn\u2019t pick up on that. What track would that be?<\/strong><\/p>\n

JW:<\/b> There\u2019s a tune on there called \u201cApart from You.\u201d It kind of reminds me of Midlake a little bit, actually. It\u2019s got a really nice melody to it. We try to do a bit of that on each album, but generally speaking, I prefer to be more angular when I approach vocals.<\/p>\n

Have you ever thought about bringing in live musicians?<\/strong><\/p>\n

JW:<\/b> No, we don\u2019t need it. We have a soundman and a tour manager and even that is too much!<\/p>\n

Where I saw you play was pretty small, but I know you\u2019re doing some big festivals. Do you do anything more elaborate? Dancers perhaps?<\/strong><\/p>\n

JW:<\/b> We have a light show, but no dancers yet. Andrew has become a lot more physical over the last year, which has really just filled the stage out and given it something else. In some respects, it\u2019s completely revolutionized the physical aspect of it.<\/p>\n

Making this album\u2014or making any album\u2014do you go into it with very specific ideas about what you want to do lyrically or musically?<\/strong><\/p>\n

JW:<\/b> They just pop up along the way. Sometimes it\u2019s premeditated, but other times they\u2019re written on the spot.<\/p>\n

AF:<\/b> \u201cUK Grim\u201d was probably the last track we did, and the phrase \u201cUK Grim\u201d was a joke from the tour the year before so it\u2019s weird how it works.<\/p>\n

How about for you musically, Andrew?<\/strong><\/p>\n

AF:<\/b> No, I don\u2019t usually set out to write something. \u201cDawn\u201d was the only track where I sat down to produce something. But I make music every day. I\u2019ll get up and turn stuff on.<\/p>\n

Both UK Grim<\/i> and Spare Ribs<\/i> were made during pandemic times. How do you think that changed from one to the other as far as that having an influence?<\/strong><\/p>\n

JW:<\/b> Yeah, they\u2019re kind of like lockdown and post-lockdown. I was on a lot of painkillers when we made Spare Ribs<\/i> because I had a back issue. It was a very subdued album, which is probably why it was so popular! And this one is post-lockdown and the opposite of that, the next phase of living. They go hand-in-hand like eggs and bacon. They\u2019re definitely two albums that marked a shift in production skills. We just got better. They definitely belong to each other.<\/p>\n

Was it more difficult making these albums being isolated from society?<\/strong><\/p>\n

AF:<\/strong> No, for me making music is basically locking yourself away, so it was business as usual. But not being able to get together made it a bit weird, though.<\/p>\n

JW:<\/b> Yeah, I didn\u2019t find that it stagnated the writing. Not at all.<\/p>\n

AF:<\/b> We basically came back from touring Australia to lockdown, so the first few months were quite good because you got a chance to completely recharge and we had an excuse not to get back out there. But after awhile it got a bit Groundhog Day.<\/p>\n

Jason, there are times when you adopt another voice and talk to yourself, almost like a doctor or therapist. I\u2019m wondering how therapeutic songwriting is for you.<\/strong><\/p>\n

JW:<\/b> Yeah, of course, it is. It\u2019s even more therapeutic now because I know loads of people are going to listen to it. So if you want to get at a person, you can talk directly at them, which probably isn\u2019t healthy or positive, but it certainly does its job if you have an issue with someone! But yes, spoken word, rap, ranting\u2014whatever it is that I do\u2014is therapeutic because you can get the message out in full. You\u2019re not having to skirt around things or worry about having a verse and a chorus and a middle-eight. They are in what we do, but they\u2019re like books and you can get more in them. You can use them as stories, as personal attacks against somebody\u2026 the world\u2019s your oyster, you know what I mean?<\/p>\n

And the press release mentioned addressing your own hypocrisies. Do you see that?<\/strong><\/p>\n

JW:<\/b> Of course, that\u2019s essential because I am just as big a cunt as anybody. I\u2019m not right and I\u2019m not wrong. It\u2019s important to talk about your own things because you don\u2019t want to continue to be that same person. There have been times when I\u2019ve obsessively attacked other bands, and that says more about me than it does about them. It\u2019s important to be conscious of your own failures.<\/p>\n","protected":false},"excerpt":{"rendered":"

Since teaming up in 2009, vocalist Jason Williamson and musical brain trust Andrew Fearn, a.k.a. Sleaford Mods, have carved out their own niche. Theirs is an idiosyncratic mix of grimy hip-hop and electronic post-punk minimalism laced with invective lyrics that touch on such subjects as class, politics, musical voyeurism, and personal relations. Recorded during the […]<\/p>\n","protected":false},"author":17,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[2458],"class_list":["post-8077","post","type-post","status-publish","format-standard","hentry","category-features","tag-sleaford-mods"],"yoast_head":"\nSleaford Mods - The Agit Reader<\/title>\n<meta name=\"description\" content=\"Sleaford Mods Feature: Interview with Jason Williamson and Andrew Fearn about new album UK Grim, differences between the US and UK, and more.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/agitreader.com\/wp2\/sleaford-mods\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sleaford Mods - 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