Disgusting Sisters—Skin & Blisters

I've been a big fan of this band for a while. I'd actually reached out a couple of times to ask about featuring some of their singles in the podcast, alas, to no reply. Hopefully that can be addressed after this review!

Just a brief interlude before I start the review. For some the title Skin and Blisters may seem a little odd. Being a Cockney, I love seeing the parlance used in every day situations, but for some it may pass totally over their head. Predominately in the East End of London, and radiating outwards, Cockney Rhyming slang was a way of talking, so those around that didn't know, couldn't make out what was being said. Skin and Blisters is rhyming slang for Sisters. if you want to know more take a butchers on the Internet. **History Lesson Over**

The band comprises real-life sisters Jules and Josie, and their sound is very reminiscent of artists such as Lily Allen and Kate Nash. Their accents are wonderfully pronounced and delivered with a swagger that gives their music a real sense of character. Their lyrics take no prisoners, and you can't help but revel in their often brutal honesty. There's a wonderful combination of humour, attitude and an unapologetic willingness to say exactly what's on their minds.

"Sorry Mister" is a case in point. From the opening bass line and driving drum beat, the lyrics tell of being hit on in the most excruciating ways and the often brutal responses that follow. It would be funny if it wasn't so close to home. I have four daughters and dread to think of what they go through. Well the two unmarried ones anyway. That said, I think it's the humour and deft handling of these situations that make this song so catchy and fun, and admittedly leaves me feeling slightly embarrassed as a man.

"Weirdo Magnet" takes a different approach, one that's decidedly removed from some of the tracks I've seen featured on their Instagram. I suppose that's no surprise given the title. It's funny, though. You'd expect the ammunition to come gunning, but rather amusingly, this is the only track on the album without an "Explicit" warning. Make of that what you will.

"Not Cool" is very much in keeping with the infectious sound I find synonymous with the band and what I'd consider their signature style. It's upbeat, funny and, at the same time, hard-hitting and scathing. There's a real knack for wrapping some wonderfully sharp observations in something that is ridiculously catchy.

"Killing It" has a grungier sound, mainly, I think, due to the bass. Although it offers a nice contrast on the album, I don't feel quite as invested in this one. Some of that might be down to having heard a fair number of their snippets on Instagram, so in my head, it's not quite what I expected. I imagine that feeling will dissipate with a few more listens, though, and it's certainly good to hear them exploring a slightly different direction.

"Baby K" introduces a sweeping, more 80s infused sound. The bass is again ever present and propels the song along at quite a clip. It's a much poppier sound, with the vocals taking on a more melodic feel rather than the rapid fire, almost spoken word delivery found on many of their other tracks. There's no mistaking the subject matter, which is wrapped up in musical sweetness. Wicked, perhaps, but so effortlessly enjoyable.

And we go from 80s infused to something a little funkier with "Waste of Space". I have to admit, this was one track where I got completely lost in the music and the lyrics, on the whole, kind of passed me by, save for the odd expletive that brought my focused mind crashing back into squirrel mode. A particular shout out to the great electric guitar playing throughout. There's a really infectious groove here, and it's one of those tracks that makes you want to turn the volume up.

For me, I think "Fence Sitter" firmly nails the comparison to Lily Allen, which is by no means a bad thing, given her huge hit "Fuck You" has accumulated hundreds of millions of streams. It's upbeat, sassy and funny, and just an all out great track. It has that wonderful combination of a catchy melody and lyrics that have a little more bite than you might initially expect.

With "Frankenstein", I can't help but nail the other comparison to the wall, this time to an artist also reviewed on Indie Launchpad, Kate Nash. Some of this I'm sure is down to the regional accent, but much of it, I think, is the overall sound and delivery. It's also one of the slower tracks on the album and, as is often the case, serves as a nice, brief respite. Musically, there's also a lot to like, with some wonderfully interesting flourishes that give the track its own character.

A sentiment I'm sure is repeated the world over, at least for that one day of the week, "TGIF" again features a glorious bass line and almost reminds me of my clubbing youth, which is getting harder to remember with each passing day. It doesn't quite have the same appeal as some of the other cracking tracks on the album, but it does have some nice lyrical touches and certainly keeps the energy levels up.

And a similar club-inspired theme continues with "Calvin Klein", the final track on the album. Present again is that thumping bass line, but this is another one that doesn't quite resonate with me. It just doesn't quite have that X factor, and I wonder whether it was the strongest choice to close the album. But that's very much a subjective observation, and it certainly doesn't detract from what's come before.

This is an album I've been looking forward to for a while, and it doesn't disappoint. The hallmarks I associate with the band are ever-present, the wonderfully distinctive vocals, the infectious bass lines, the sharp observations and that wonderful blend of humour and attitude. It perhaps doesn't reach every one of the dizzying heights I'd built up in my expectations, but that's a pretty high bar to set when you've been anticipating something for a while.

There are a couple of tracks that haven't quite clicked with me yet, but that's a minor gripe in what is otherwise an excellent album. Understood, I'm probably not the intended demographic, but I can still appreciate good music, and this definitely fits that bill. More importantly, it's an album that leaves me wanting to hear more from Jules and Josie.