Birkenhead’s finest, Half Man Half Biscuit, have been plugging away on the fringes on the British indie scene for nearly 30 years without even coming close to transcending their loyal cult following. The title of their 12th studio album alone, 90 Bisodol (Crimond), a reference to an indigestion medication and a hymn named after a Scottish town, suggests that this isn’t going to change any time soon, but like their previous 11 Probe Plus releases, it’s an album which never really shows signs of any commercial aspirations, anyway. Indeed, if you haven’t yet jumped on board with their acerbic tales of quintessential British life, random pop culture references, and ramshackle post-punk sounds, you’re unlikely to do so here. But their ardent fan base is likely to lap up its 12 uncompromising and unique offerings which arguably represent their most biting and twisted effort to date. “Rock And Roll Is Full of Bad Wools” is a vitriolic attack against indie bands who appear on Soccer A.M. set against a backdrop of Pixies-esque, grungy basslines and distorted riffs; “Descent of the Stiperstones” is a slightly deranged, stream of consciousness slice of Hammond-driven, jangly indie based on a meeting with a long-forgotten soap opera actress, while “RSVP” is a murderous tale of a wedding’s deadly feast, complete with some contrastingly breezy harmonies, lilting Celtic folk violins, and a quick burst of Wagner’s Bridal Chorus. The latter’s upbeat sound and dark lyrical approach provide the album’s highlight on “The Coroner’s Footnote,” a jaunty, sea shanty singalong which deals with the somber issue of train-track suicides but luckily, there are a few lighter moments which provide a respite from the prevalent sinister themes, such as the acoustic shuffle of “L’Enfer C’est Les Autres,” a sarcastic diatribe against footpath-hogging couples, and the hillbilly rock of “Joy in Leeuwarden,” a comical ode to the obscure Dutch sport of Korfball. Of course, 90 Bisodol (Crimond) is likely to leave many either puzzled or even disturbed, but its refreshing unwillingness to compromise and wholly original way with words should further their case as one of the U.K. music scene’s alternative national treasures. – Jon O’Brien