![\"\"](\"https:\/\/alreadyheard.com\/staging\/wp-content\/uploads\/2019\/06\/2.fcottonsplainsdeep04-300x300.jpg\" "\\"\\"")
Politically-charged bands have no shortage of material to work with these days. Especially in Britain, as we approach a decade of Tory rule in the midst of Brexit shambles, there are a plethora of bands capitalising on a dire situation through music.<\/p>\n
\u2018Exiled<\/em>\u2019 is exactly what a \u201cpolitical\u201d album should be. Taking influence from noise-rock, anarcho-punk, and a plethora of other equally raucous corners of the musical world, Bad Breeding<\/strong>\u2019s third record is a pure, violent burst of sonic rage. There\u2019s no pretence, no wordy extended metaphor, no beating around the bush \u2013 just twelve tracks of righteous fury, each one directed with laser-beam focus at a different social issue. The band are most concerned with their working-class roots and the manner in which places, such as their hometown of Stevenage, are affected by rampant neo-liberalism.<\/p>\n From the get-go, Bad Breeding<\/strong> make their intentions known. The opening title track sounds what would happen if Crass and METZ had a child together, combining no-frills UK punk with rhythmic experimentation and noisy production choices. This amalgam continues throughout the record, but presents itself in a variety of different ways and develops as it progresses. \u2018Theatre of Work<\/em>\u2019, for example, utilises wild horns and a slow tempo to create an unnerving atmosphere, while \u2018C.S.A.M\u2019<\/em> opts more for out-and-out fury.<\/p>\n