Satirical, furious, unflinching.
The Demise Of Planet X by Sleaford Mods was released on January 16, 2026 on Rough Trade Records (Sleaford Mods).
Sleaford Mods, the English duo of Jason Williamson (vocals) and Andrew Fearn (production), return with their highly anticipated new studio album The Demise Of Planet X, marking another unfiltered commentary on contemporary life through their stark post-punk lens.
The Demise Of Planet X arrives as Sleaford Mods’ thirteenth studio album, following their 2023 release UK Grim. The project has been described by the band as their most expansive and expressive musical approach to date, marrying the duo’s trademark abrasive critique with a broader sonic palette and notable guest collaborators (Sleaford Mods).
Williamson has framed the record as a response to living through an era shaped by “immense uncertainty” and “mass trauma,” where cultural decay, digital chaos and global crises inform the lyrical content and tone. The album was recorded across multiple studios including JT Soar in Nottingham, Abbey Road in London and Invada Studios in Bristol, retaining the gritty immediacy fans expect while incorporating wider textural elements. Musically, the album weaves minimalist electronic beats with sharp spoken-word delivery, a method that has defined Sleaford Mods’ work since their rise. Here, Fearn’s production pushes urgency and pace with layered rhythms and occasional melodic undercurrents, offering varied textures beyond the duo’s earlier stripped-back style (Sleaford Mods)
Gwendoline Christie and Midlands duo Big Special add theatrical and melodic flourishes on “The Good Life,” with Christie’s voice embodying an internal dialogue of excess and critique. Aldous Harding lends ethereal backing on “Elitest G.O.A.T.,” introducing softer sonic contrasts to the band’s typically harsh surroundings. (Sleaford Mods) Former Life Without Buildings frontwoman Sue Tompkins appears on “No Touch,” intertwining her distinctive vocal approach with the track’s reflective mood (The Line of Best Fit). Soul singer Liam Bailey and Nottingham grime artist Snowy add further diversity on “Flood The Zone” and “Kill List” respectively, broadening the duo’s tonal range (Sleaford Mods).
Lyrically, Williamson’s rapid, often ranting delivery remains the focal point, with production choices that emphasize tension and commentary — sounds crafted to puncture complacency rather than soothe. “The Good Life” (feat. Gwendoline Christie & Big Special) is a striking opener blending introspective critique with theatrical flair, exploring the personal and societal costs of contemporary culture (Sleaford Mods). “Elitest G.O.A.T.” (feat. Aldous Harding) balances sharp lyrical satire with unexpected melodic lightness courtesy of Harding’s contribution (Northern Transmissions).
“No Touch” (feat. Sue Tompkins) is a vividly produced piece exploring vulnerability and isolation (Under the Radar Magazine). “Flood The Zone” (feat. Liam Bailey) adds soulful dimension to political critique. “Bad Santa” and the title track channels the album’s raw thematic core, these selections wrestle with societal frustrations and existential mundanity (Sleaford Mods).
Early journalistic reviews indicate mixed to positive reactions: The Skinny labeled The Demise Of Planet X a “strong addition to their discography” with moments that “flick the Vs at a world gone mad,” highlighting tracks like “Flood The Zone,” “Gina Was” and “The Good Life” as standouts (The Skinny). Other outlets note that while the record deepens the band’s social commentary, it sometimes struggles to innovate beyond established territory, with lyrical execution occasionally described as “clunky” even if the intensity and spirit remain palpable (Cult Following).
The Demise Of Planet X finds Sleaford Mods expanding their reach while staying rooted in the raw, unsparing worldview that has defined their career. With diverse guest voices, urgent production and razor-sharp lyrical focus, this album is poised to resonate with long-time fans and critics alike as a vivid reflection of life on the brink of cultural collapse.
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