‘Crisps’ is an eclectic fusion of genres and social commentary, calling to the bench the twat, the twat and the twat.

Hailing from Bristol and Manchester, “post-brexit apocalypse disco” duo Getdown Services, drop ‘Crisps,’ their debut album, out today via Breakfast Records. A 12-track revelation that refuses easy classification, ‘Crisps’ offers tastes of Krautrock beats, new wave sensibilities, big bouncy synth disco flair and a whole mouthful of memorable spoken word slamdunks. It is a bit Sleaford Mods but not. It has got more panache, it is funnier, it is closer to the mark, and it is wholly unique.

Josh Law and Ben Sadler, the creative minds behind Getdown Services, deliver a musical feast that is diverse and audaciously bold. With its irreverent grooves, humorous lyrics, and razor-sharp social observations, ‘Crisps’ emerges as a distinctive and stimulating take on contemporary pop.

Opening with the title track, ‘Crisps’ bounds out of the gate with a bubbling beat that hops and moves through the song, giving a clue to the pace and energy of the project. The vocals and the lyrics are always going to be at the forefront of a piece like this but the production is incredible, it is danceable and it is just as tongue-in-cheek as some of the lyrics, themselves delivered with sceptical malaise and cynicism.

The album fearlessly tackles a range of subjects, even taking Jamie Oliver into the crosshair of their slacker-fury. On ‘Get Back Jamie,’ Getdown Services deliver another playfully biting diatribe wrapped in a lounging slice of psych-funk. Ready to call out hypocrisy at every turn, the TV chef and 15-minute meals “writer” is dragged through the wringer by the pair. Josh Law, expresses his frustration at the absurdity of the “campervan twat” and his condescending attempts to change the nation.

Also firmly on the chopping block is an unfortunate monthly fact of modern life, the greedy landlord. The leech on the working person’s calf. They feel so proud and charitable to kindly offer the absence of homelessness for only slightly above the current market rate. ‘Biscuit Tin’ gives punch after punch on the trials that the person who takes a third of your income puts you through. With lines such as “I work 40 hours a week, I eat your shite for a living” and “I’ve made the money, You take the money,” it loops around on itself comparing landlording to stealing from the biscuit tin… also the dog’s fuck ugly too.

Not ones to back down from another fight, the duo reach a peak on the best track of the album, ‘Evil On Tap’. It is the heavy, rock-influenced banger of the album. The tyrannical, many-headed snake of late-stage capitalism is the target of this opus. Vocalist Ben Standler speaks on the meaning of the song as such: “This song is about the nature of repetition and how it feeds into everyday life. I wrote this song when I was in a particularly dissatisfied place. Working all the time whilst still not having enough money to cover the essentials is a fairly standard experience and, as is the culture in the UK, I tend to turn to drinking or reality TV or material goods or whatever as a distraction which obviously only ends up making things worse. That being said there is comfort in repetition and routine, and finding a nice middle ground with anything is important. The world has evil on tap but learning to stem the flow and bend it, much like an avatar, is the key to becoming the master of the elements.” While ‘Crisps’ ventures into various genres with rapid intensity, ‘Evil On Tap’ stands out as a genuine homage to their rock’n’roll origins. musical trudge of the debut.

With the album’s release, the duo is gearing up for a 15-date tour across the UK and EU starting mid-November. Additionally, March will mark their inaugural U.S. appearance at the New Colossus Festival in New York.