The Streets have always come through with a sound that only they can produce, thanks to the vision of Mike Skinner. Now after releasing two UK Bass cuts since the start of 2021, they’ve returned to a more introspective and witty sound on ‘Brexit At Tiffany’s.’

This new EP contains three new tracks, all with references to doom and gloom, Brexit, and some classic Streets humour.

We start with ‘3 Minutes to Midnight,’ which references an impending doomsday and this feel is matched by the very erratic instrumental, that is influenced by UK Bass and Grime. Lines like “I don’t like morning people, morning or people,” show off that typical wit, delivered in a deadpan manner. Featured guest Manga Saint Hilare shows why he’s a talented MC with his verse on waiting for the exit, referencing getting to the gates of heaven or the title of this EP (which is a reference to the classic film ‘Breakfast at Tiffany’s.’)

‘Brexit at Tiffany’s‘ continues down these melancholic themes, but over a more classic Streets sound you may have heard in their heyday. The way they mix Mike’s and Jazz Morley’s vocals together is very well done, showing the two perspectives on this relationship ending. This is similarly done in the video with Skinner wandering through typical British places like the chippy or a corner shop looking isolated and alone, while the other person is looking content as they play chess with someone new and sign a contract.

The wordplay of the Streets here is the standout, with references to manicured pavements and behaviour or being “Nostalgic for glamour that never happened,” showing the breakdown in this partnership, while also playing into the plight of modern society and the beliefs of those who thought Brexit would bring about a better future. Nowhere is this more the case than in the line “I don’t listen to music like you do, I listen to the same song over and over.”

Throughout this EP, you can feel the despair and hopelessness creeping in and this reaches its climax on ‘Test of Time.’ The mellow, D’n’B production allows you to focus on the words, as Skinner reflects on how life can feel meaningless at times, leaving someone to feel as if they’re just existing. While this doesn’t directly reference Brexit per se, “I come from the empire where the sun never died, I come from the empire where the blood never dried,” references the dark past of this country which is sometimes hidden from sight.

The Streets have done a great job here at referencing the plight felt by British society, post-Brexit, and still making it personal to him and the pain he has felt in life. If this means we have a new album on the way, then we have plenty to get hyped about.

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