Review: Science Made Us Robots

Next up is the new album Grow Up Bored from the brilliantly titled Science Made Us Robots, and it does exactly what it promises – short, spiky, no filler, no messing about. Masters of the blink-and-you’ll-miss-it anthem, not a single track here dares creep past the three-minute mark, and the album absolutely flies.

It kicks off with Perfect, which is exactly that – a statement of intent. A heady blast of Californian pop-punk energy fused with a distinctly UK grit, it’s fast, catchy and instantly singable. A proper mood-lifter and the ideal antidote to a gloomy January morning.

Oblivion launches straight in with a more vocal-driven approach, blending sharp melodies with clever songwriting. You can hear nods to Green Day and Rancid, but also respectful glances back to The Clash and the Sex Pistols. It’s modern punk done right, with a huge chorus that sticks immediately.

Sobriety ups the intensity with a full-throttle power-chord intro before dropping into a stripped-back verse packed with great harmonies, then firing back into a chorus that feels tailor-made for sweaty singalongs. If sobriety really sounded like this, everyone would sign up. A hit waiting to happen.

Tomorrow flips the script again – under a minute long, snarling, sharp and gone before you’ve fully processed it. That’s the beauty of this album – it constantly leaves you wanting more.

One More Try barrels in with breakneck speed and pounding rhythm, before hitting an absolutely spectacular drop that punches far above its runtime. Short, sharp and seriously effective.

We’re Best shows a more melodic side, leaning into pop sensibilities without losing any grit. It’s authentic, upbeat and driven forward by another ridiculously catchy chorus.

Getting Out is pure punk efficiency – fast, melodic, snarling and wrapped up in under 45 seconds. Blink and you’ll miss it, but it hits hard.

Damage Done smacks you square in the face, perfectly blending old-school punk sneer with modern polish. The breakdown and final build alone are worth the price of admission.

Deadwood lands with a bass-heavy riff before bursting into a soaring melody stacked with impressive backing vocals. There’s a touch of Lit and later-era Backyard Babies here, but with a very British edge that gives the band real character.

Give Up throws a curveball with its funky drum swing intro before snapping back into familiar territory. The quiet/loud dynamic is handled brilliantly and avoids tired clichés, with a laid-back-but-charging-ahead groove that feels effortless.

Home Alone is another full-blown anthem. The vocal-led verse gives way to a layered chorus so catchy it should probably come with a warning label. The bass line here is outstanding – bold, confident, and refreshingly front and centre.

Rotting Place shrieks in like a modern-day Pogues-fuelled punk riot. Spikier than most of what’s come before, it hammers home their punk credentials while keeping those melodic instincts intact.

The album wraps up with She Said, closing things out on a high with a rapid-fire riff monster and the brilliantly darkly funny “He’s dead” refrain. It’s chaotic, sharp and a perfect full stop.

Grow Up Bored is over in a flash, but it leaves a serious impression. No filler, no fluff – just hook after hook, idea after idea and relentless energy packed into bite-sized bursts. Proof that sometimes the smartest thing a band can do is know exactly when to stop. Short songs, big impact – and boredom never stood a chance.