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With one crashing blow, UK Decay have rewritten the rules of engagement for supposed ‘comeback’ albums and redefined the term ‘Punk’ for the modern age. Make no mistake about it, this is no sentimental rehash of a sound from over 30 years ago, this is a seismic explosion of anger unleashed in a sound that emanates from both Heaven and Hell. ‘New Hope for the Dead’ is destined to be one of the defining albums of 2013.”

It’s true, dammit! While the world and his wife are going ga-ga over a group of girls recreating the sounds that UK DECAY were part responsible for in their teenage years before splitting in 1982, the original post-punks are about to release ‘New Hope For The Dead’, only their 2nd album and first since reforming after more than a quarter of a century apart. A heavy sonic assault built upon the politics of dissent that lyrically encompasses the twin evils of extremism and bigotry, the fracturing nature of society, the lack of engagement by today’s generation and the attraction of things that ultimately harm us, it is also home to a collection of excellent new songs.

Originally formed in Luton in early 1979, UK Decay were leaders of the then emerging post-punk scene and are widely credited (if once derided) with coining the term ‘Goth’ in a music press interview in Sounds music paper that subsequently inspired a worldwide movement. Part of a musical lineage that saw them emerge after Siouxsie & The Banshees and pre-fame Adam & The Ants alongside the likes of Bauhaus and Killing Joke, their single/EP releases and 100,000 selling debut studio album For Madmen Only were substantial Independent Chart topping records, while they were also session regulars on John Peel’s Radio 1 show. Extensive touring in the UK and mainland Europe led to tours of North America - including memorable treks supporting Dead Kennedys and then headlining above a new LA punk scene containing Circle Jerks, Black Flag, DOA, Social Unrest, The Subhumans, etc - while current iconic names such as Dave Grohl, Trent Reznor and Tool have all cited the music of UK Decay and their incendiary live performances as influences on their own careers.

Lead vocalist Abbo grew up on the Farley Hill estate in Luton, “just one street away from the idiot that now fronts the English Defence League.” In the late 70’s it reflected the social conflicts of the time; now, even more so, the town finds itself riddled with racial tension, bigotry and violence that make it a potential blueprint for a future Britain. “We’re not here for a nostalgic reunion, the band came back together as we felt we had something to say about our times and put out music that is made of these times ” he opines. “There have been three or four generations of music since we originally split up, but there is a vacuum in music of any comment or action in kicking against a world of apathy, discrimination and totalitarianism.”

“We are finding that our voice resonates with old and new alike,” adds guitarist Spon. “It’s a new time but the same problems exist. We’ve always been a political band, but one that’s able to reference human passions too. The new album encapsulates all of that and presents it with a sound that is the best we’ve ever achieved.”
New Hope For The Dead is released by Rainbow City Records on LP, CD and download and distributed by SRD. The album cover features paintings by the Italian anarchist artist Franko B of the US and UK flags in embossed black oil that amplify the themes of UK Decay’s new songs. The LP inner sleeve and CD booklet contain photography by Hugo Glendinning.

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