Baxter Dury’s ninth album is a bold statement, blending his punk roots with contemporary influences. It solidifies his place in the music world, and offers a fresh perspective while honouring his family’s legacy.

Release Date: 12th September 2025

Label: Heavenly

Format: CD / Vinyl / Digital

A ‘MODERN LIFE IS RUBBISH’ ATTITUDE

Baxter Dury’s latest album lands at the perfect time. With a ‘modern life is rubbish’ attitude that hits harder than ever, he kicks things off with a series of no-nonsense anthems.

In a recent interview, Dury admitted he was on the lookout for some excitement, and he delivers it in spades with this mesmerizing piece of work.

A masterclass in his signature wit and sharp observations, the record perfectly captures the feeling that the world might have left him behind.

After an acclaimed set at Glastonbury, Dury teamed up with legendary producer Paul Epworth, and the result is arguably his best work yet. Influenced by his tours with Pulp and Primal Scream, he carves out a unique space in the electro-punk scene, blending social commentary with his trademark free-speaking lyrics.

FAST OUT OF THE TRAPS

The album kicks off emphatically with Allbarone, a track that blends mid-2000s house energy with late ’80s punk. Born from a failed date, it features a driving bassline and JGrrey’s piercing vocals, crafting a dynamic and humorous narrative. It’s a statement opener with a relentless pace and storytelling that sets the stage for the album’s broader themes, suggesting this record is going to be a big deal. It is no surprise this was the lead single; it is a superb advert for the collaboration between Dury and Epworth that unquestionably sets the tone for the rest of the record. 

Next is Schaudenfreud, which dives into the pitfalls of modern love set against a backdrop of European cities. The Euro-centric electro influences perfectly mesh with Dury’s effortless delivery, building to a powerful crescendo of vocals, strings, and drums. The track’s title itself is a perfect fit for Dury’s headspace, seemingly capturing his willingness to smile through the demise of others. It lands beautifully.

EPWORTH – ENDORSING DURY DYSTOPIA

While the opening tracks are knockouts, the rest of the album more than holds its own. Kubla Khan might not have the epic drive of its predecessors, but it still packs a punch with intense bass riffs and smartly produced vocals. The sneering delivery of the tracks title stuck with me for some time, but the layering behind it leaves it missing some of the emphatic hooks and drive that the first two tracks landed well with. The social commentary picks up with increased verve with each track. 

Alpha Dog stands out with its catchy bassline and contrasting vocals, giving it a feel reminiscent of Daft Punk. It’s a perfect showcase for Dury’s knack for compelling compositions and Paul Epworth’s masterful touch. The album shifts gears again with The Other Me, a short but powerful track that offers a glimpse into a dystopian future lurking in Dury’s mind. With its rich description and narrative, it hits like a steam-punk novel and it is not difficult to envision Dury sat feverishly scribbling down the lyrics as the layered tracks play in the background. It’s the craft of the lyrics that set this artist and his most recent work aside; by this point, it feels like it is the writing of a man who is happy to stand on the hard shoulder of this industry and remark on what he feels is most pertinent. 

COLOURFUL COMMENTARY OF HACKNEYED HAUNTS

The next section of the album is where Dury truly hits his stride. He’s at his satirically eagle-eyed best, with cutting commentary on the world he sees around him—and, frankly, on us. It’s a confident strut through his favourite London haunts and the people who dwell there.

Hapsburg is a bright, cleverly crafted track with excellent lyrics and a critical eye on those he feels he’s forced to share his environment with. I’ll be honest and admit that I needed to Google ‘Hapsburg Lips’ and can tell you the results were a joy; what an eye for detail this man has! It’s impossible not to nod along, smiling at the vivid images painted with each line; a wonderful blend of the serene and the ridiculous. 

Return of the Sharp Heads is another of the album’s emphatic hits. It brings together some of Paul Epworth’s deepest cuts with Dury at his sharpest and most colourful. It’s an unapologetic assault on the world of tight tops and unscrupulous screen time. This is Dury at his most cutting, and it lands perfectly.

INTIMATE INTROSPECTION

The final two tracks become more introspective, clarifying all the themes from the preceding songs. 

Mockingjay offers further introspection and ties the album together with a perfect blend of solid beats and a lyrical honesty that feels like an unreserved comment on what many of us are already thinking.

The final track, Mr W4, feels like a comedown and offers a humble close. Amid soaring strings, a solid piano riff, and a vocal drone, Baxter delivers his final observations on where he is now and where he’s been. It’s a quiet, reflective end to an album that opened with such ambition, but it’s a fitting one. You’ll want this to burst open again at the end to bring a more fitting conclusion to the album. Perhaps this more humble close is by design – it’s almost exhausted. 

Overall, Baxter Dury’s ninth album is a bold statement, blending his punk roots with contemporary influences. It solidifies his place in the music world, offering a fresh perspective while honouring his family’s legacy. This is how Punk and its derivatives should be: unashamed, unabridged, and unafraid, yet with enough quirk to raise a smile. This is clever, witty that should rank high amongst the acclaimed works of Paul Epworth; it will likely be regarded as Baxter Dury’s finest – and is highly recommended.

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