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Viagra  Boys by Marcus WilenV**GRA BOYS ANNOUNCE NEW LPWELFARE JAZZ,TO BE  RELEASED ON JANUARY 8TH 2021 ON YEAR0001THE SWEDISH POST-PUNK BAND  RETURNS WITH FIRST OFFERING “AIN’T NICE” WATCH THE VIDEO HEREStockholm  post-punk hero’sV**gra Boys(**= “ia” because spam FILTERS) have  announced anew albumWelfare Jazz, available January 8th via YEAR0001.  The album is produced byMatt Sweeney (Bonnie “Prince” Billy, Run the  Jewels), Justin and Jeremiah Raisen (Yves Tumor, Kim Gordon, Sky  Ferreira)as well as past collaboratorsPelle Gunnerfeldt and Daniel  Fagerström (The Hives, The Knife). Ever the band drenched in satire,  they return with their brand of horn-filled, searing post-punk and  rejection of standard genre trope’s todeftly lay waste to society’s  normalization of toxic masculinity, racism, misogyny, classism, and  self-obsession. Even the album’s title has a layer of satirical depth;  the transliteration from Swedish of the term used for the government’s  financial support of jazz musicians cuts to the quick of  institutionalized classism and prioritization. “I’m not good at talking  about politics, but everything is political when it comes down to it,”  explains singer Sebastian Murphy. “I’d rather write a song about being  defeated, which usually comes from a real place and says a lot.” The  micro bleeds into the macro with the new record as Murphy continues, “We  wrote these songs at a time when I had been in a long-term  relationship, taking drugs every day, and being an asshole. I didn’t  really realize what an asshole I was until it was too late, and a lot of  the record has to do with coming to terms with the fact that I’d set  the wrong goals for myself.” Murphy, who has established himself as a  drunken yet conscious stumbler in past videos, reprises the role for the  new video “Ain’t Nice,” but this time wreaking havoc along with way.  Stealing scooters, jackets, disrupting otherwise leisurely picnics  Murphy leaves no innocent bystander left unbothered. He then time  travels to the 18th century, surrounded by servants donning powdered  wigs. The track and video coyly mock the patriarchal macho relationship  drama of “classic” post-punk via a full-throated snarl, cement-cracking  bass lines, and pinprick synths.

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