The Overload landed in January 2022 and announced Yard Act to the world in pretty emphatic fashion - it debuted at number two on the UK Albums Chart, got nominated for the Mercury Prize, and had people talking about the Leeds four-piece as one of the most exciting new bands in the country. It was their debut, which makes the whole thing even more impressive. They'd built up a decent buzz through a handful of singles beforehand, but the album showed they had the range and substance to back it all up.

Sonically it sits firmly in the post-punk camp - wiry, rhythmic, driven by a propulsive bassline more often than not - but what sets Yard Act apart is frontman James Smith's delivery. He talks more than he sings, spinning these sharp, sardonic monologues about class, identity, money, and the general state of modern Britain. It's funny and pointed without ever feeling preachy. There's a bit of The Fall in there, a bit of Gang of Four, maybe a touch of early LCD Soundsystem, but it never sounds like pastiche. It's very much its own thing.

The title track is a brilliant opener - it sets the tone perfectly with its build and release, and that chorus lands properly. Rich is one of the sharpest things on the record, all deadpan wit and groove, and Tall poppies closes out the album in a way you don't quite expect - slower, more reflective, nearly six and a half minutes long. What makes The Overload worth coming back to is how well it holds together as a complete listen. It's lean and purposeful at just over 37 minutes, Smith's writing rewards close attention, and the band are tight without ever sounding stiff. A genuinely great British debut.