Sleaford Mods share 'The Demise Of Planet X' expanded edition with nine unreleased songs

The first time Sue Tompkins stepped into the studio with Andrew Fearn and Jason Williamson, the air was thick with the kind of raw anticipation that only a Nottingham duo known as Sleaford Mods can conjure. They were already three years into the making of their thirteenth album, and the trio had been busy turning a pile of demos into a record that would land at number six on the UK charts. Yet, even as the original tracks found their way onto the final sleeve, a handful of songs lingered, tucked away like secret recipes, waiting for the right moment to surface.

When the expanded edition of The Demise Of Planet X hit the shelves, it carried nine tracks that had never been heard before. These songs were not late additions; they were written alongside the original album and simply sat in the vaults, unseen. The decision to release them now feels like a deliberate act of generosity, a way for the duo to share the full breadth of their creative process with fans who had already devoured the first wave of material.

Among the new cuts, “Cato” stands out not just for its infectious rhythm but for the collaboration that birthed it. Life Without Buildings frontwoman Sue Tompkins had previously appeared on the single “No Touch,” but the track didn’t make the cut for the original album. The Mods, however, felt that “Cato” was too good to keep silent. Tompkins described the song as “very catchy, and throbby!” She added that the interplay between her voice and Jason’s felt almost like a duet, a back‑and‑forth conversation over Andrew’s driving beat. The accompanying music video, directed by Tompkins herself, adds a visual layer to this sonic dialogue, turning the track into a multi‑sensory experience.

The expanded edition also offers an alternate version of “The Good Life,” featuring different lyrics recorded before Gwendoline Christie’s explosive vocals were added. This version provides a rawer glimpse into the song’s evolution. “The Return Of The Bin White Dukes” is described by the duo as the precursor to “Don Draper,” hinting at a thematic lineage that fans of the Mods’ narrative style will appreciate. “Give Em What They Want” rounds out the collection as an energetic punk track that the Mods felt was too divergent for the original album’s flow but still worthy of release.

Watching the Mods revisit their own demos feels like watching a chef taste a dish months after it was first prepared. Jason Williamson likened the process to a curry that “always tastes better the next day.” The idea that a track can shift from “not fitting” to “perfect” over time speaks to the fluidity of creative judgment. It also underscores the Mods’ willingness to let their work breathe, to give space for ideas to mature before presenting them to the world.

In the broader context of the UK indie scene, the Mods’ decision to release an expanded edition is more than a marketing move. It signals a shift toward transparency in the creative process, offering listeners a behind‑the‑scenes look at how an album is built. For fans of the duo, who have long admired their blend of sharp lyricism and minimalist beats, this release is a treasure trove that deepens the narrative of “The Demise Of Planet X.”

With the expanded edition now available, the Mods have opened a new chapter in their discography. The release invites speculation about future collaborations, especially given Tompkins’ enthusiastic involvement. It also raises the question of whether the duo will continue to share unreleased material in this way, perhaps turning the expanded edition into a recurring feature. For the Mods’ audience, the expanded edition offers not just new music but a richer understanding of the duo’s artistic journey, a journey that began in the streets of Nottingham and now stretches across the UK charts and beyond.