8/10

Lurcher return with 'Bad Gag', their second EP that feels more assured without losing the raw immediacy that defined their earlier work. Recorded at Blank Studios with Chris McManus, the five-track release captures a band leaning further into their instincts, refining their sound by tightening its focus.

There is a clear sense of momentum running through the EP. Angular guitar lines, driven by Alex Featherstone’s distinctive 12-string textures, sit against a rhythm section that prioritises precision over excess. The interplay between Christoph Crinson’s bass and Jono Mudd’s drums keeps everything grounded, allowing the songs to feel tense but also controlled. It’s a sound that slightly rough around the edges, but deliberate in its execution.

Previous tracks 'Punchline Blues' and 'Quad Biking' highlight that balance particularly well. There is an urgency to the performances, but also a growing awareness of space and structure. Where earlier material may have felt reactive, 'Bad Gag' captures a band becoming more intentional with their choices, allowing ideas to land without overworking them.

Lyrically, the EP remains rooted in observation. Throughout, Lurcher focus on small, often uncomfortable moments; such as social missteps, everyday absurdities, and the quiet awkwardness of ordinary life. These details give the songs a dry, almost detached tone that suits the band’s brooding aesthetic.

While the influences of post-punk textures, indie-rock minimalism, and a lineage that runs through bands like The Fall and Protomartyr are clear, the EP doesn’t feel defined by them. Instead, 'Bad Gag' positions Lurcher as a band beginning to occupy their own space within that tradition.

With this new outing, Lurcher take a noticeable step forward that suggests a band growing more certain of what they are, and just as importantly, what they are not.