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If Songs of Praise was fuelled by pint-sloshing teenage vitriol,

then Drunk Tank Pink delved into a different kind of intensity.

Wading into uncharted musical waters, emboldened by their

wit and earned cynicism, they created something with the

abandon of a band who had nothing to lose. Having forced

their way through their second album's identity crisis, they

arrive, finally, at a place of hard-won maturity. Enter: Food

for Worms, which Steen declares to be "the Lamborghini of

shame records."

It marks a sonic departure from anything they've done

before, abandoning their post-punk beginnings for more

eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed

and the more melodic works of 90s German band, Blumfeld.

For the first time, the band are not delving inwards, but

seeking to capture the world around them. "I don't think you

can be in your own head forever," says Steen. A conversation

after one of their gigs with a friend prompted a stray thought

that he held onto: "It's weird, isn't it? Popular music is always

about love, heartbreak, or yourself. There isn't much about

your mates." In many ways, the album is an ode to friendship,

and a documentation of the dynamic that only five people

who have grown up together - and grown so close, against all

odds - can share.