Mclusky are best described as a punk band, sitting neatly between the sounds of Falkous’ various projects, neither as catchy as Future Of The Left and not as feverish, nightmare-inducing musings found on Christian Fitness records. While the word “unique” is often misused, there is only one Andrew Falkous and that’s the essential part. That’s what makes these albums worth listening to; it’s a specific kind of genius. If you haven’t heard Mclusky before, the sound is abrasive and raw. They’re a trio boasting distorted guitars, filthy basslines, drums and spoken, shouted or part-sung vocals. Often, the guitars have a distinctive, rhythmic thump, and it’s no surprise that Falkous sometimes tours with only bass strings on his guitar.

This sound makes its presence felt on songs like ‘The Battle Of Los Anglesea’ but he’s wise enough not to rely on it. In fact, every song has its own specific feel and little tricks, like the meandering lead guitar lines running through ‘Way Of The Exploding Dickhead’ or  ‘The Competent Horse Thief’, that gives the album a surprising sense of scope. It can also be stupendously noisy, particularly ‘Hate The Polis’ which sounds like the inside of an exploding eardrum, in a good way.

Of course, this isn’t the work of one man and the line-up is rounded out by ‘new’ bassist Damien Sayell (Also vocalist of The St. Pierre Snake Invasion) and drummer Jack Eggleston. The slow hypnotic march of ‘The Competent Horse Thief’ and the uncompromising buzz of ‘Kafka-esque Novelist Franz Kafka’ prove Sayell was an excellent addition to the band while the clever, frantic drum beats on ‘Cops and Coppers’  or ‘Unpopular Parts Of A Pig‘ prove this isn’t just a one-man project.

When describing their writing process, Eggleston claimed would get together once a month and allow “magic to happen.” This certainly appears to be true. There’s a feel to this record that isn’t replicated in any of the other Mclusky records, despite being work of the same band. This is enhanced by the incredible guitar and bass tones (apparently created by Electro-Harmonix amp boosters) that have a buzz and crunch which feel chunky and scuzzy especially when combined with the crisp smash of drums.

This being a Falkous project, the lyrics are loaded with his specific sense of humour. However, what really makes them so special is that they’re both specific and implicit. Clearly the words are statements about something but as they’re presented, you’re left to work out what. Quite often they come across as angry rants or observations that feel smart or astute, and like there’s a wicked joke going on somewhere even if you can’t quite work out what it is. For example ‘People Person’ could literally be about lockdowns and the Government’s behaviour but you’d have to piece that together from the crumb-like clues scattered throughout.

Absolutely no one wants some old duffer to put out a turgid reheat of their greatest hits and so it’s both surprising and gratifying to hear so many new ideas being expressed throughout the album. Yes, it sounds like Mclusky, yes, it’s clearly a Falkous project, but they have the dignity to sound energised and engaging. Plus, because they’re old and wise, they know exactly where their strengths lie and spend the whole thirty-three minutes playing to them.

This wisdom extends to the album’s running order, positioning the lurching ‘Autofocus On The Prime Directive’ before the slow, nightmarish lullaby of ‘Not All Steeplejacks’ keeps the energy flowing while saving the rough, pounding headache of ‘Juan Party System’ for the album’s latter half means it doesn’t tail off. It’s also notable that the wicked sense of humour also extends to the album artwork and the part clown/part sex doll image on the cover.

Time has been kind to Mclusky. Perhaps because Falkous always sounded old and bitter they have grown into their sound. ‘The World Is Still Here And So Are We’ is the most Mclusky record, it might even be the best Mclusky record. Listening to it is like putting on an old lover’s hoody and finding twenty quid in the pocket.

IAN KENWORTHY

Originally active from 1996 to 2005, the band released three studio albums. Following the release of their third LP, 2004’s ‘The Difference Between Me and You Is That I’m Not On Fire’, on Too Pure. In 2006, they posthumously released their b-sides/rarities compilation ‘mcluskyism’. Their members would go on to form Future of the Left. Since 2014 however, the trio have played the odd show here and there.

As for the supports; earlier this year garage/fuzz rockers Eat Fast released their latest EP ‘Immortal Kombat’ on Cannibal Hymns, whilst Newcastle’s Jimmy Floyd Hasselbaind released their second EP ‘Perpetual State of Pleasure’ last year via Deft Cuts.

Tickets for the show cost £20 and are available here.

As Mclusky* gear up to play a special headline show at London’s Garage next week, Rat The Magnificent and USA Nails have been confirmed as support. The former features Ian Catskilkin of Art Brut and Frank Black, with the latter celebrating the release of ‘No Pleasure’ earlier this month.

All three bands will take to The Garage on the 3rd December 2015. Mclusky*, whose original incarnation formed in 1996, releasing three highly regarded full-length albums between 2000 and 2004, played 2000trees Festival this summer to critical acclaim.

All funds raised from the show will be donated to Cancer Research.

The show has now sold out.