That Sleaford Mods’ three most recent albums have resonated so widely, despite being so at odds with any of their peers, is largely down to the focused ire of Jason Williamson’s lyrics, a winning mix of stream-of-consciousness bile and absurdist humour. The anger is still prominent on the Nottingham duo’s first album on their own label, but it’s now tempered by a greater sense of resignation, most notably on those songs where he drops his regular sprechgesang in favour of actual singing, as on the lyrically vulnerable Firewall (“You don’t know you’re crying at all/ Because of your firewall”) and When You Come Up to Me.

While the album title might suggest a focus on the Old Etonian architects of austerity, Eton Alive is very much small-p political.Indeed, a passing reference aside (“Graham Coxon looks like a leftwing Boris Johnson”), David Cameron et al don’t get a look-in here, although the consequences of their actions are detailed in forensic detail. Policy Cream paints a bleak picture of a society in decline, with its admission that “we’re like pumped-up meat, wet and fried and thick”; Into the Payzone skewers the impersonal nature of contemporary consumerism. Andrew Fearn’s soundscapes, meanwhile, improve with each album. Particularly potent is the ominous post-punk bassline he deploys on OBCT; even what sounds suspiciously like a kazoo solo towards the end can’t puncture its sense of menace.