CD: New Model Army - Winter

They once believed in 'getting the bastards'. What do they believe in now?

share this article

New Model Army: a dark, muscular energy

Casual fans of New Model Army may be surprised at how doggedly the band has plied its trade – aside from a couple of brief breaks, the boys haven't stopped for over 35 years. Nor have they ever let up on their revolutionary spirit. Even when there have been slight shifts of style, their musical essence – a visceral mix of punk, folk, and sheer bloody-mindedness – has remained. This year, however, main man Justin Sullivan turned 60. Surely, by now, he's beginning to mellow?

Not a bit. Winter feels as passionate as the band's last "proper" offering, Between Wolf and Dog, which, in turn, delighted fans with its fervour. This new LP, however, is heavier. Songs like "Eyes Get Used to the Darkness" are a maelstrom of post-punk guitar and spat-out vocals. And even when the guitars are unplugged – such as on "After Something" – there's a dark energy. 

Lyrically, the album moves away from politics to a more abstract approach. For instance, when Sullivan sings "burn the castle" ("Burn the Castle"), it's as much about individual frustration as society. Similarly, the ballad "Die Trying" mixes melancholy, dissatisfaction and personal encouragement: "Winter storms and the snow flying/ razor wire and the gulls crying/ cross the water or die trying".

This lyrical detachment suits them. It gives Winter an air of wisdom – the work of a band that has lived a little, and learnt a lot. Although the album dips a little towards the end, for the most part, this is NMA at their most muscular and affecting. The title track is a particular gem – intense chords, rumbling bass lines and portentous vocals which proclaim: "And I knew that the end was coming and I wished that it was over/ Bring me the snowfall, bring me the cold wind, bring me the winter." Powerful stuff indeed.

Add comment

The content of this field is kept private and will not be shown publicly.
Name that you would like to appear as the author of the comment
This new LP is heavier - a maelstrom of post-punk guitar, and spat-out vocals

rating

4

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing! 

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more new music

US freak-rockers exhume their final album of supreme bizarreness
An entertaining second album full of feminist fun and lethal put-downs
Making the case for wading through a hotchpotch of archive releases
Big disco balls and explosive affirmation make the stadium trio more ludicrous than ever
With no Glastonbury Festival 2026, our intrepid reporter offers us mementos and tall tales
As her collection of music by goth divas appears, the writer reveals the appeal of the dark side
Intriguing second album from Los Angeles musical auteur
Box-set tribute to the idiosyncratic - frequently fantastic - London R&B band
Reflective, poetic, instinctive songs of renewal and resilience
Crowd shows warmth toward the Londoner, back touring after mental health break