The south Londoners’ wonderfully enigmatic follow-up to New Long Leg feels more collage than essay, the poetic cheek by jowl with the preposterous.
Hearing Dry Cleaning's words and music travel in different ways to the same destination remains fascinating, and the ways they open up their music on Stumpwork with warmth, sensuality, and humor reveal their originality even more fully.
“Nothing works. Everything’s expensive. Things are shit. But they’re going to be OK.” No, it’s not our new Prime Minister’s address to the nation (though it could be). It’s Florence Shaw on Dry Cleaning’s brilliant second album Stumpwork.
With Stumpwork, the joys are much more immediate, and the variety of ideas and rhythms and tempos and textures really makes a powerful impression from the first listen.
If the music and lyrics are both impressive, though, it's the interaction between them that makes Stumpwork such a triumph.
Dry Cleaning is friends to the strange. They make rock n roll that is weird, cool, and clever, powered by singer Florence Shaw’s snarky vocals. Their latest effort, Stumpwork, cleans this sound to a shiny finish.
Dry Cleaning may not get mentioned in the same breath as other young London art-rock groups like black midi or Squid, but they should. Stumpwork proves that this band’s style has legs.
The trick with this kind of balancing act is to illustrate and even evoke boredom without actually becoming boring. In the case of Stumpwork, Dry Cleaning consistently pull off this complex task.
Dry Cleaning follow last year’s breakthrough debut with Stumpwork‘s indie-flavored post-punk woven together via Florence Shaw’s dispassionate musings.
Yes, Stumpwork is New Long Leg part two, but a gloriously developed, evolving one.
It’s a worthy successor to their debut.
The follow-up to last year’s fine debut New Long Leg is more focused, with Florence Shaw’s low-key narration framed by powerful sounds.
Dry Cleaning surpass themselves with a gentler, broader sound on Stumpwork.
Like the most resolute artists, with the provocative and relentless Stumpwork, they admirably move their boundaries further afield regardless of appealing to a bigger audience.
The production here is insanely good but i would enjoy this way better if Florence Shaw didn’t sound like the Google Translate woman on most of the tracks.
God.. that album cover is so uncomfortable lol
This is the one post punk band that I just don’t really get. I still think that overall this is a good album, but idk if I’d really come back to it. It’s a slight improvement from their last one because the instrumentation is a little bit more diverse. The vocals are interesting but sometimes they can get a little too one note. I was hoping they’d explore more territory vocally but idk it didn’t really feel like they ... read more
I really enjoy this album it reflects the equal mundanity and excitement of bri'ish life
fav songs are hot penny day, dont press me and my absolute fav kwenchy kups
things are shit but they're gonna be okay, i'm gonna see the water caterpillar
didn’t rly expect to like this as much as i did, but damn this was nice. weirdly cozy, but cold. the slow guitars may have dragged on for a little, but that worked really well will the softer, monotone vocals.
The spoken word gets a bit grading but it works well enough in this minimalist post punk style.
1 | Anna Calls From the Arctic 4:57 | 81 |
2 | Kwenchy Kups 2:45 | 78 |
3 | Gary Ashby 2:10 | 79 |
4 | Driver's Story 3:41 | 70 |
5 | Hot Penny Day 3:37 | 82 |
6 | Stumpwork 4:11 | 70 |
7 | No Decent Shoes For Rain 5:57 | 77 |
8 | Don't Press Me 1:50 | 78 |
9 | Conservative Hell 3:48 | 76 |
10 | Liberty Log 6:52 | 77 |
11 | Icebergs 5:23 | 72 |
#1 | / | Sound Opinions: Jim DeRogatis |
#8 | / | Sound Opinions: Greg Kot |
#9 | / | Loud and Quiet |
#9 | / | MOJO |
#9 | / | Record Collector |
#10 | / | DIY |
#11 | / | Les Inrocks |
#13 | / | Beats Per Minute |
#13 | / | Under the Radar |
#14 | / | Far Out Magazine |
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