BUZZCOCKS: ATTITUDE ADJUSTMENT

Albumreview by :Jan Vranken

*Punk Legends Prove They’re Still Relevant, Even Without Pete Shelley*

Nearly five decades into their career, Manchester’s punk pioneers Buzzcocks face an impossible task with ‘Attitude Adjustment’: how do you honor a legendary legacy while forging ahead without one of your founding voices? Pete Shelley’s 2018 death left an unfillable void, yet Steve Diggle—the band’s other original songwriter—refuses to let the Buzzcocks story end there. This twelfth studio album is both a celebration and a statement of resilience, proving that even in the shadow of giants, there’s still room for evolution.

From the moment ‘Queen of the Scene’ kicks down the door, it’s clear this isn’t your standard heritage act going through the motions. Diggle’s growling vocals may lack Shelley’s distinctive nasal whine, but they bring their own weathered authority to the proceedings. The opening track’s hypnotic riff and sing-along chorus demonstrate that Buzzcocks still understand the art of the three-minute punk vignette better than most bands half their age. The lyrics—taking aim at reality TV culture—show Diggle hasn’t lost his observational edge, even if his wordplay differs from Shelley’s more cryptic approach.

What makes ‘Attitude Adjustment’ genuinely intriguing is its refusal to simply rehash the past. Diggle’s claim that this is ‘punk rock with a Motown vibe’ initially sounds like marketing speak, but by the time ‘Break That Ball and Chain’ arrives with its funky bass riff, horn section, and backing vocals, the description makes perfect sense. It’s unexpected territory for Buzzcocks, channeling Paul Weller’s 90s soul-punk experiments while maintaining the band’s melodic DNA.

The album’s sonic palette leans heavily into melody and polish, sometimes to its detriment. Tracks like ‘Seeing Daylight’ and ‘Tears of a Golden Girl’ are undeniably catchy, with their summer-ready hooks and optimistic energy—imagine if ‘Ever Fallen in Love’ had been recorded on a sunny beach rather than in grey Manchester. But this brightness occasionally strips away the raw edge that made classic Buzzcocks so vital. Multiple reviewers who’ve caught recent live shows note the band sounds significantly more feral and urgent on stage than on these studio recordings.

Chris Remington’s bass work and Danny Farrant’s drumming—both veterans of nearly two decades with the band—provide solid, professional foundations throughout.The production is clean and punchy, favoring clarity over chaos. Purists might bemoan the lack of spit-flecked vocals or deliberately lo-fi aesthetics, but Buzzcocks have always occupied punk’s more melodic territory, drawing as much from power-pop as from the Pistols’ sneer.

The album’s sequencing occasionally suffers from too much consistency. By the midpoint, the relentless upbeat tempo and bright guitar tones can blur together, lacking the dynamic variation that made their late-70s albums so compelling. Tracks like ‘Poetic Machine Gun’ and ‘Jesus at the Wheel’ are competent but don’t leave lasting impressions amid the album’s fourteen-song runtime.

Yet ‘Attitude Adjustment’ ultimately succeeds because it understands what Buzzcocks do best: write smart, hooky punk songs that stick in your head. The closing track ‘The Greatest of Them All’ showcases Diggle’s empathetic songwriting, addressing homelessness with genuine compassion rather than platitudes. Its opening line echoes Bowie’s ‘Five Years,’ but the sentiment is pure Diggle—a Dylan-influenced observer chronicling the world around him.

This album won’t dethrone ‘Another Music in a Different Kitchen’ or ‘Singles Going Steady’ in the Buzzcocks pantheon, nor should it try. Instead, ‘Attitude Adjustment’ serves as proof that even without Pete Shelley, there’s life in this band yet. It’s an album that rewards repeated listens, revealing subtle layers beneath its sunny exterior. Longtime fans will find plenty to appreciate, while newcomers get an accessible entry point that honors tradition without being enslaved to it.

Steve Diggle has every right to keep the Buzzcocks flag flying, and on the evidence here, he’s earned that privilege through sheer commitment and craft. This is a good, solid punk record from a legendary band—nothing more, nothing less, and sometimes that’s exactly enough.

**(7/10) (Cherry Red Records)**