All is still, and everybody is under their duvet. A peaceful calm descends upon them. Nothing is wrong in the world. Well, there probably is, but it’s nothing to do with you, right? It’s all good, your life. You’re okay, so the peripheral stuff doesn’t matter. But suddenly you become aware of a figure standing at the foot of your bed. Motionless at first, but increasingly animated. Soon, he’s grabbed your ankles, shaking you more and more violently. What’s his problem? Your blurry eyes start to focus. You can see who it is now. It’s Moon Walker main man, Harry Springer. He has a gun pointing at your head. “WAKE THE FUCK UP!!!” he says.

And then he’s dragging you through an apocalyptic landscape. One that you helped create in your lethal detachment and deeply flawed cognitive dissonance. “WAKE UP!!!” repeats Springer, as the various landmines of opening number ‘Disappearing Act‘ seek to detonate your thinking cells. This is an intensely dramatic curtain-raiser that could so easily be the theme tune to a James Bond film, except better. It’s a thrilling and also terrifying caveat that ICE are not your friends, but rather a trigger-happy method of complete control, designed to fan the flames of prejudice and maintain that as the status quo.

Mr. Jones from the following ‘Happy Face‘ is one of those passive enablers of the increasingly right-wing regime, with Springer – over a seriously ominous backing that incorporates elements of classical music into its multi-faceted composition – airing his disgust over the type of inaction favoured by the song’s protagonist, who is happy to sit back and complain while attempting to do nothing of any significant value to change that.

‘I Don’t Wanna Be Saved‘ and ‘Sandbox‘ (a recent track of the week for us here at God Is In The TV) are largely moulded from the same clay lyrically, though the former track has the kind of foot-stomping glam rock feel that permeated ‘Gold On The Ceiling‘ by The Black Keys, albeit somewhat slower, perhaps closer to Depeche Mode‘s ‘Personal Jesus‘ actually, while the latter pays tribute musically to some of the classic songwriters of the 1970s. Another recent single, ‘You’re Next‘, continues the assault on the weak-willed, unthinking sheep who played a part in allowing this vile dictatorship to flourish. It’s a pretty tune, the verses not a million miles from the melody of The Turtles‘ 1967 hit ‘Happy Together‘, but a million times fiercer than that. One of the best things about this track, though, and a real album highlight, is the shimmeringly beautiful Johnny Marr-style guitar playing over the top that gives it such an unexpected juxtaposition.

Title track ‘Wasteland Country‘ is deceptive in its relatively downbeat, forlorn-sounding early build, almost like a Gruff Rhys solo record, but that soon erupts into a sea of filthy, muddy guitars and a vocal that is rising ever more into a device for both Springer’s frustration at those devoid of opinion, and burning intent not to give up the fight. It might even be the best song on the record. That’s followed by the thunderous ‘Supernationalist‘ – no prizes for guessing what that one’s about, and which contains the devastating line “Dead kids – don’t care. Same answer: Thoughts and prayers.”

The gorgeous ‘Not Even Human‘ provides a little respite, recalling Del Amitri‘s ‘Nothing Ever Happens‘ melodically, while Springer laments the impending self-imposed destruction of the human race: “Sometimes I feel like I’m not even human at all.” We know the feeling, Harry, we know the feeling.

‘Parade‘ is a clusterfuck of a song, like taking bad drugs to escape the world, only for that new dimension to be inhabited by the same villains in different suits telling the same lies: “No gods, no kings, no crown / Protest? Not here, not now / Tear gas, flash bang, you’ve all been saved – the military’s on parade!“

‘The World You Built‘ is a remarkable song, written in the wake of the Charlie Kirk assassination last year, and focusing on the impact this had on certain folk to ignore the deeper-rooted issues that caused it to happen, instead choosing to chastise those with left-leaning, more tolerant views. If ever a lyric has hit the nail on the head better than “He’s just another victim of the world you built,” I have yet to hear one.

The record closes with ‘Everybody Goes To Heaven,’ a slow builder that fervently expands as it goes on, with the most beautiful orchestration you can imagine, while finishing on the words: “We teach them while they’re young that they should follow along / Shut up and fall into line and question nothing at all / And the same ones playing the fool will be the first to kiss the boot / They’ll be following orders like they were taught to do at school / Then at church, then at home, then at work, they won’t even think it’s wrong / until the person on the cross is them. Nobody’s getting saved.”

Springer has taken you across the minefield now. He’s successfully navigated it with you and protected you from imminent doom. He’s taken you back to the room where you were sleeping, lowered the gun, and left through the window. Your kids are fast asleep in the next room. You’ll see them again in the morning after all.

Now. Wake the fuck up.

Wasteland Country is released independently on the 1st of May

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