’…a collection of anthems for a generation of kids born into a world that never seems to not be ending…’
If I had a pound for whenever a northwest England based band releases a hotly anticipated and delightfully queer-coded debut record in 2024, I’d have two pounds which… actually, considering the cost of living crisis, is quite a lot.
After Crawlers finally released their fantastic debut record earlier in February, finally the time arrived for post-punk five piece Gen and the Degenerates to drop their debut album. Certainly, post-punk has recently been dominated by groups of middle-class white guys with a love of talking, but once again, as tends to be the history of music, a genre will be made demonstrably more interesting by LGBTQ+ (and POC) individuals. This is the case for certain with ‘ANTI-FUN PROPAGANDA’.
At its core, things are straightforwards. Gen and the Degenerates have their roots in blues rock and garage rock, with scrappy, fuzzy riffs colliding with driving bass lines and percussion. This continues into their debut record, even with the band settling on a decidedly more post-punk vibe. Everything here has a raw rock’n’roll ethos at heart, which lends a lot of character and energy to the performances.
However, its how the band have embellished on this that proves to be the most exciting aspect. From the pulsing dance-rock vibes of the opening track ‘Kids Wanna Dance’, with its rattling rapid-fire percussion and bright synths, to the slick and sarcastic ‘Post-Cool’, cruising by with its looping ambient synth lines that explode into explosive rock choruses, everything on this album builds to form one singular cohesive body of work, whilst ensuring that variety, entertainment, and character is never lost. The capacity of the band to switch between brilliant dumb fun on moments like the title track, to scathing and self-aware social commentary on ‘That’s Enough Internet For Today’, packed with swaggering groove-laden bass lines, is indicative of a thoroughly creative group of musicians.
All of this sets the stage for a killer performance from vocalist Genevieve Glynn-Reeves. They have already made a name for themselves as a fantastic live performer, and thankfully this has been translated wonderfully onto the studio recordings. Their delivery varies depending on what the song requires, whether that be sharp wit, righteous fury, or genuine vulnerability, all the while maintaining a commanding presence; ‘That’s Enough Internet For Today’ particularly stands out in this regard, as Glynn-Reeves truly nails that sensation of being exposed to way more information than the human brain was every intended to be, and having that happen all of the time.
On top of this, their lyricism is often sparklingly brilliant. ‘Kids Wanna Dance’ nails the oppressive nihilism that permeates the world of zillennials and zoomers, remedied only by reckless hedonism. On the other hand, ‘Girls!’ is not only a scathing indictment of the hatred towards women that straight men are often paradoxically socialised to have, but also the queer love anthem of the decade. The track packs some absolutely killer bars such as ‘I love it when thеy make their own damn money/I’ll bе your little bit of sugar, let me call you mummy’ and ‘I love it when their shoes make them taller than me/Doesn’t make much difference when I’m on my knees’; openly queer lyricism is always an important thing to note in a deeply heteronormative world.
Yet despite all of the wild humorous antics, it’s the closing track of the album where the band truly shine. ‘Jude’s Song’, written in dedication of late Glynn-Reeves’ aunt. Each member contributes wonderfully to this progressive, sweeping epic, with some particularly gorgeous guitar work. It’s a beautiful and heartbreaking ode to what is left behind in the wake of grief, and how all that love continues to live in the little ways we choose to remember those we have lost. Glynn-Reeves’ vocal talents truly shine here, with a wonderfully compelling performance that closes the album perfectly.
Aside from some very minor issues regarding how the album is mixed, which leaves one or two tracks feeling a little less expansive than they deserve to be, there’s very little to complain about with this debut record. Not only is this a genuinely fun and entertaining record, ‘ANTI-FUN PROPAGANDA’ is often genuinely insightful, and deeply relevant.
How Gen and the Degenerates have gone about this record is certain to anger all of the correct people; it’s bold, it’s loud, it’s in your face, it’s everything that young people, and often more so young queer people, are demonised for, and everything that makes this record so much fun. It’s a collection of anthems for a generation of kids born into a world that never seems to not be ending. So now you’ve got the soundtrack, get up, get active, get angry, and get dancing.
RATING: 79/100 – Mostly Very Good
For Fans Of: Panic Shack, Yard Act, Queen Cult, Crawlers, Kneecap
Physical copies of the album are available to purchase here.
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