Delete Everything, the new album from Pop Will Eat Itself, finds the band as unruly and inventive as ever. Formed in the industrial heart of the Midlands during the mid-eighties, they’ve always thrived on tearing apart the boundaries between genres, and this record proves they’re still masters of chaos and creation in equal measure. Their eighth full-length effort refines and redefines their signature collision of industrial rock, gonzo hip hop, and punk-fueled techno into a set of futuristic anthems that feel as sharp and anarchic as their early work. Frontmen Graham Crabb and Mary Byker trade verses and energy like live wires, their voices bouncing across a storm of compulsive beats and glitching textures. Davey Bennett’s bass rumbles beneath the surface while Cliff Hewitt’s drums drive the whole machine forward with mechanical precision. Adam Mole switches between guitar fury and keyboard theatrics, his performances bursting with the kind of reckless joy that has always defined the band’s sound. Delete Everything is both a rebirth and a riot—a record that channels the band’s irreverent humor, social bite, and boundless imagination into something entirely their own. Pop Will Eat Itself haven’t mellowed with age; they’ve just reloaded the system, smashed it again, and built something wilder from the wreckage.
