Writing tongue-in-cheek lyrics that poke fun at our society, Slaves return with an album that expands on their infectious punk sound.

Kent duo Slaves definitely make a lot of noise for two men. But we already knew that, and they only act to cement that statement in their third album Acts Of Fear And Love.

Full of the razor-sharp punk grittiness we have come to expect from the band, the new album is packed with tunes that are tailor-made for arenas. If you imagine the punk spirit that was rife in the ‘60s, this album is basically a physical embodiment of that whilst maintaining a modern twist.

Rousing opener The Lives They Wish They Had is packed full of swagger and sleazy guitar lines. It’s an unapologetically Slaves’ opening, and they poke fun at society’s focus on maintaining a seemingly perfect presence on social media. The sarcasm drips from the spoken verses, as Isaac Holman mockingly narrates, “An HD self-portrait / Sucking on a cigar / Leaning on the bonnet of your rented motor car”. As the frenetic guitars and decimating drums kick in for a climatic ending, it revs up to a breakneck tempo to match the gutsy character.

Cut And Run is a fine example of the band’s humour, as they incorporate an out of tune flute into an otherwise normal track. The dissonant flute is jarring against the steady drums and vocal harmonies, but at the same time it’s a stunt that only Slaves can pull off. They turn down the humour on Bugs, as it sears with a barely masked anger. A dark, distorted riff begins the track, before battering drums join in to create a disjointing soundscape. Screaming “Fuck you, we’re not having that”, it expresses the dissatisfaction of “Another let-down generation” due to “inaccurate information”.

Slowing down the brisk tempo that has been previously set, Magnolia opens with a tongue-in-cheek quip about how common the colour is used in UK homes. Acting as another glance into social conformity, the musing “it’s gotta be perfect” is repeated, reflecting the mindset of many in today’s society. Stripping back for Daddy, a wandering guitar line provides the backing to an emotionally honest narrative about a mid-life crisis. As female backing vocals join in for the chorus, it creates a delicate air of vulnerability that is quite different from the punk raucousness we’ve come to expect.

Reflecting on lost love and rejection, Chokehold will have you singing along to its catchy hooks as rambunctious guitars blare out between groovy drums. The more mellow Photo Opportunity nods at the expectations placed on musicians, as they comment “This is not a photo opportunity / But if I say, no, I’m sorry I have somewhere to be / And I open myself up for scrutiny” against a dainty guitar accompaniment.

Notching back up a gear for Artificial Intelligence, distorted guitars provide a dirty riffing against low vocals, creating a dark gritty atmosphere. Finishing with Acts Of Fear And Love, it’s a sprawling track with its mix of spoken and soaring vocals. Brimming with tension, it’s the perfect end to the album as we come down from the climatic shouts alternating between “Fear” and “Love”.

In typical punk fashion, Acts Of Fear And Love is an album that pokes fun at society but it also delves into a deeper level as Slaves reflect on their experiences leading up to this album.