Christopher Nosnibor
Benefits exploded onto the scene not long after lockdown – and I mean exploded, an atomic detonation of rage. The essence of the setup was pretty simple: angry sociopolitical spoken word delivered with blistering vitriol, backed by a blinding wall of noise. The result could reasonably be described as something in between Whitehouse and Sleaford Mods, but the fact is that from day one, Benefits created their own niche. The live shows were jaw-dropping, and the debut album, Nails captured that raw energy with a rare precision.
The arrival of second album, Constant Noise marked a necessary departure – sonically mellower, far more beat-orientated, a lot less shouty, angry-sounding. My first impression was that it was decent, more produced, but still packed some sting in the lyrics., and will be hard to top in terms of the number of mentions of dogshit in albums of the 2020s. But it’s a fair reflection of post-lockdown Britain: dogs have proliferated exponentially, and concordantly so has the volume of dogshit – and, just as bad, bags of dogshit tied and dropped, piled next to or on top of bins, and hung in trees. What kind of twat does that? A selfish one is the only answer. But as for the album, I kinda let it sit for a while. But over time, with more – and more – listens, the album’s depths reveal themselves. Constant Noise is every bit as angry as Nails, and if anything, the more moderate, tempered delivery hits harder. It just takes a little bit longer to reveal its depths and quality. But how would this translate live, especially now they’ve been stripped back to the founding duo of Kingsley Hall and Robbie Major?
Benefits
Before we would get to find out, there was the equally intriguing support. The Eighties Matchbox B-Line Disaster are one of those acts who may have only attained cult status during their time together, but it’s one which has expanded since their demise. They were always a band destined to implode, as was apparent when I witnessed a particularly fractious gig here in York circa 2007. But this was always a band which had derangement and volatility wired into their makeup. Guy McKnight formed DSM IV in 2018, and they’re an altogether different proposition, trading in gothy electro with some tidy guitar textures woven into the fabric of the songs, and Guy seems altogether more settled. It’s all relative, of course, and he ventures into the crowd on numerous occasions, and at one point around the middle of the set, tosses mic stand over, drops the mic and busts some tai chi moves. It’s a solid set, both compelling and entertaining, and they’ve got some tunes, too.
The DSM IV
Benefits don’t really have a great many tunes in the conventional sense. Choruses and hooks aren’t the primary focus of their compositions. Hall’s words range from reflective and ponderous to outright roaring rage, the backing spanning sprawling barrages of obliterative noise to quite chilled dance grooves. But at this volume, and when delivered with this much passion, there’s nothing chilled about this live show.
Here, I find myself returning to the topic of seeing an act you’ve seen before and been blown away by, and going to see them again in the hope of replicating that first time – only it’s a weak hope, because the first time has the element of surprise which is unlikely to be repeated. Yes, a band may be consistently awesome, but that first bombshell experience, that initial high… very few bands have the capacity to have that impact more than once. Benefits, however, hit even harder on this outing than any before.
Benefits
There was word online that their current tour was as brutal as any they’d ever done. Having seen them three times previously, and never with the same lineup, it seemed like that claim might be a bit of a stretch, particularly without a live drummer. But synthetic beats have a way of bludgeoning and cracking in a way that live drums don’t always, and when paired with gut-churning low-frequencies and ear-bleeding top-end noise, the sonic impact of what blasts from the PA is positively immolating.
Benefits
Kingsley gets most of the chat out of the way at the start, with a bit at the end: in between, they power through a relentless set uninterrupted. And relentless it is, and not just sonically: with the sole lighting consisting of blinding white strobes for the entire duration of the hour-and-twenty-minute set, the stark, uncompromising nature of the music and lyrics is amplified. They put every ounce of energy into the show, Hall positively streaming with perspiration by a third of the way through. And we feel the passion; the whole room is buzzing and aglow with a sense of unity through a shared experience of catharsis. These are shit times. Dark times, bleak and scary times, domestically and globally. Benefits capture the zeitgeist, and rail against those who will one day be proven to have stood on the wrong side of history – the right-wing, flag-shagging, pro-Brexit, racist, xenophobic, hatemongering, exploitative, manipulative capitalist shits and their supporters and enablers – articulating thoughts and feelings with a unique precision and an intensity which is positively nuclear. The experience is nothing short of mind-blowing.
Aural Aggravation 