Off the back of their 2015 album, Why Choose, London’s Shopping embarked upon a relentless jaunt of touring across the UK and US – it was a tour that took its toll on the band, not only directly upon each individual, but also back in their hometown where their usual rehearsal and writing space, Power Lunches fell victim to the city’s gentrification. It was a turn for the worst that coincidentally tumbled into the relocation of Andrew Milk, the band’s drummer, who ended up shifting north to Glasgow. The Official Body – produced by Edwyn Collins of Orange Juice – is an album of frustrations, resentment, and ultimately maturing, and it’s certainly worth a listen for that reason.

The growing distance between the band, not only with their hometown’s developing bubble, but also with each other added a new pressure. This was a new battle they were up against, given all their material is written collaboratively, songs now had to be crafted through afternoon sessions rather than through spontaneous trips to the studio. This sound manifests through the post-punk trio’s new album. The Official Body carries a frantic energy with it, songs appear fraught and energised, written with force and vigour: ‘Wild Child’ spins between 90s synth and Orange Juice basslines, ‘Asking For A Friend’ pulls post-punk with Sound Of Silver-era LCD Soundsystem melodies and ‘Discover’ laments with its scuzzy Late Of The Pier electronics.

There’s a sensibility to The Official Body that plays on the band’s vigorous political commentary – frontwoman of the trio, Rachel Aggs, was left contemplating a post-Brexit Britain on 2015’s Why Choose, this time around the group are left concerned with a Trump world, and an imminent nuclear war. The Official Body – a play on ‘government body’ – makes similar political jibes to Why Choose, if not quite so overtly. Aggs notes how their previous political retorts felt “More like putting a tiny band aid on a massive wound.” On ‘Control Yourself’, bassist Billy Easter dictates: “Disposable / We are / Disposable / We are / Throw them away”, leaving an undercurrent of political and social discontent, regardless of how much commentary they wanted to make obvious. The track itself is a highlight on the album, rattling with the same unrest that Gang Of Four outline, like a toddler in a highchair, the track thrives as the song unfolds, leaving you jittering in the aftermath.

Stark, jagged punk music outlines the band’s sound throughout The Official Body – full of impatience, nostalgic (perhaps ironic?) glimpses of 90s dance and thundering rhythm sections, it only falters when the production doesn’t quite justify the sound. When it suffers it appears a little thin, mixes sound a touch everywhere, with percussion cutting through melody – whether this is a purposeful aesthetic decision or not is up for debate, but the album would improve if only for a richer sound. ‘New Values’ carries with it touches of dreamy post-punk wrapped within a veil of pop, but if only it could be given a chance to soar further.

Thematically songs are developed and compelling to listen to and contemplate, from ‘Suddenly Gone’ – in which Aggs acknowledges her feeling of being undervalued due to her queer/person of colour background – through to the aforementioned ‘Wild Child’ in which lyrics address the noticing of cracks in one’s idol. The thematic elements tied in with the band’s furious post-punk, dance ethos have left the trio with perhaps their most accomplished release to date. It’s not perfect, and perhaps cuts corners here and there, but where it occasionally strikes clean it carries the potential to leave a real mark.

Tom Churchill

Facebook: facebook.com/weareshopping
Twitter: twitter.com/sh0pp1ng