Cut & Paste refers to a methodical practice of modernity and postmodernism in which found elements are extracted, rearranged and reassembled in a changed meaning structure. Andrew Fearn and Jason Williamson have been doing exactly that for around 15 years. The Sleaford Mods have developed a format from minimal beats and maximal language that operates very uniquely between kitchen sink realism, political accusation and bitter introspection.
This time, Williamson’s word cascades range from the “Social Media Weightwatchers” in “Megaton” to Double Denim (“Don Draper”), from InstastoryDoomscrolling and the hamster wheel of life (“Bad Santa”) to Trump’s strategy of covering up the discourse with lies: “Flood The Zone” consciously quotes advertising language with the line “This Domestos kills all germs” and at the same time calls out the US President’s statements about bleach during the pandemic Memory.
Contradiction becomes the resigned management of one’s own exhaustion
Musically, the two open up: THE DEMISE OF PLANET It was created in different locations, with expanded production resources and numerous guests. “Double Diamond” reassembles the soundtrack aesthetics, “Elitest GOAT” with Aldous Harding moves towards synth pop with shimmering overtones, while the bass points back to the Northern Soul of the 1960s.
At the end, in “The Unwrap,” there is fatigue. The scene appears to be an empty repetition, its own furor almost routine. “Same old boring cunt in a band” is the self-diagnosis: contradiction turns into resigned management of one’s own exhaustion. If you don’t know this, cast the first stone. Oh no, it’s way too strenuous.
This review appears in Musikexpress 2/2026.