Flesh Creep – We Need You To Bleed
(No Time)
This Midlands based crew have been making waves in the underground scene since their blistering debut EP back in the winter of 2021. Having spent the past two years building momentum on both the release and live front, the quintet are ready to kick the door down with this absolutely barnstorming LP. With a dream runtime of 18 minutes, these 10 tracks tell you everything you need to know about Flesh Creep and what they stand for.
This is a fucking ferocious slab of modern hardcore that gives you a well needed slap around the face at every corner. From the second opener ‘Gold’ erupts, this embodies everything I love about heavy music; exhilarating metallic twists, head-banging hardcore and pit swelling thrash. This is a band that mean every fucking note and every fucking word and it’s this authenticity that gives ‘We Need You To Bleed’ a timeless quality. Tracks like ‘Turf War’ and ‘Bleed Out’ both boast hooks that beg for the mic to be grabbed, while ‘Insect Politics’ and ‘False Flag’ are sure-fire pit-hungry bangers.
Credit must go to old pal of the site Stale Winton, who has done a stellar job at producing this record, helping the band bridge the gap between classic and contemporary punk, which is no easy task if you ask us. This is a huge step up sonically and musically from their previously released EPs, which were already super raging, so with this in mind, any punk heads HAVE to check this out! An essential release in 2024 hardcore.
Jane Weaver – Love in Constant Spectacle
(Fire)
I spent most of the early 2021 lockdown dreaming of swaying in the middle of a disco ball filled dance floor whilst listening to the beautiful glitter pop sounds of Jane Weaver’s last album ‘Flock’. It was my first proper introduction to the North West songwriter’s back catalogue and it subsequently became one of my absolute favourites of that year. Excited about a follow up, I’ve spent the last two weeks immersing myself in Jane’s latest opus, ’Love in Constant Spectacle’.
With esteemed producer and regular PJ Harvey collaborator John Parrish at the helm, Jane has honed in on the psych pop vibes of her previous work to create something that feels way more loose and expansive. I really like the psychedelic feel across this record, with tracks like ’The Axis and The Seed‘ and ‘Happiness in Proximity’ really expanding that pallet. There’s also different levels of it too, from the stripped back folk of ‘Motif’ to the sprightly pop of ‘Perfect Storm’, Jane covers all bases here, continuing her knack of giving eclectic track-listings a sense of cohesion.
Whereas ‘Flock’ relied on its immediacy, ‘Love In Constant Spectacle’ feels more detailed and steeped in magic; the sweet love song that is ‘Romantic Worlds’ makes me want to swan about in a pedalo, very much like in the video for the track. Basically, it’s hard not to lose yourself in this. There is such a candid coolness about Jane Weaver and I think it comes from making music that lives in its own world. ‘Love in Constant Spectacle’ is a blissful yet pensive foray into the UK’s finest pysch pop export.
Joel Harries – I Will Always Come Back Here
Although he’s been a big part of the UK underground scene for some time, playing in a whole heap of different projects, it was his collaboration with Arab Strap’s Malcolm Middleton that first turned me onto Joel Harries. Their band Lichen Slow made a top 5 AOTY for me last year with their beautifully emo debut ‘Rest Lurks’. Much to my delight, Joel’s latest solo record very much takes off from where we left Lichen Slow.
‘I Will Always Come Back Here’ is a gorgeously produced indie-folk record with a big dollop of classic emo. The thing that struck me when I first heard Joel was his angelic voice and as soon as the harmonies saunter in on opener ‘Birthday Card’, I was well and truly suckered in. This is another pensive affair, with Joel looking deep into relationships – whether it’s with old friends (’Shitty Friend’) or with his dog (‘I Wish I Had Words’), this is a very tender, honest account.
The production is just perfect. There’s a lot of sonic detail, but just the right amount to serve the deep intimacy of these songs. Whereas the Lichen Slow record had a few more outward looking moments, ‘I Will Always Come Back Here’ feels very introverted and there’s something incredibly moving about Joel’s delivery. If you’re a sad lad like me and stoked about that Owen record coming out later this month, you gotta check this out, it’s a proper lovely listen.
Metz – Up On Gravity Hill
(Sub Pop)
Absolute faves here at BCFB, Canada’s finest Metz are back with the follow up to their absurdly good 2020 LP, ‘Atlas Vending’. There was always going to be some big shoes to fill with that album, as it embodies everything I love about the power trio, whist looking into some new sounds too. Teaming up with producer Seth Manchester again, Metz have gone and made a really cool move by turning in their most expansive and immediate record to date.
Just so you know, this is definitely not Metz going pop. Far from it. This is still the same noisy punk rock band you love, but there’s a slight focus into a more shoegaze-y / indie rock dynamic, which really suits them. ‘No Reservation / Love Comes Crashing’ leads the charge with its six-plus minutes of hazy guitars and ethereal vocals swirling over the top of the band’s thunderous rhythm section. ‘Glass Eye’ and ‘Entwined (Street Light Buzz)’ follow up next, pretty much backing up the opener with what this record is all about; scuzzy, full throttle punk with a big melodic centre.
Of course, tracks like ’99’ and ’Never Still Again’ still cut through with razor blade sharpness – the latter in particular is a head caver, rocking a relentless chorus that smashes into a half time beat down. But then we get to ‘Light Your Way Home‘, which concludes the album with their most shimmering, shoegaze moment to date and it’s, dare I say, the most beautiful piece of music they’ve made. Though some may feel that overall this might not quite pack the same punch as its predecessor, there is a subtle majesty to ‘Up On Gravity Hill’ that is hard to not get wrapped up in. Solid playing and a forward moving sense of ambition keeps pushing Metz forward as one of the finest rock bands to come out of Canada.
USA Nails – Feel Worse
(One Little Independent Records)
Speaking of noisy boy Birthday Cake For Breakfast favourites, UK alt punk mavericks USA Nails have just unleashed their sixth album! For a band that have been at it for just over a decade, they sure have put in a right shift, so it’s great to see a label like One Little Independent pick up the band for this one. I think it’s fair to say that USA Nails have a strong formula now and ‘Feel Worse’ keeps up the raucous noise rock we know and love them for.
This is a constant attack of stabbing guitars and seething vocals, backed by a rhythm section so thunderous it could probably smash glass. ‘Cathartic Entertainment‘ is a relentless opener that is held down by powerhouse drummer Tom, swiftly followed by ‘Feel Worse’, which is two minutes of chaos as guitarists Steve and Gareth try to bend your brain with twisting riffs. If anything, USA Nails are only getting better at being more gross – ‘Networking Opportunity’ manages to hold down a killer, tom heavy rhythm while all hell breaks loose around it, whilst ‘Holiday Sea’ builds from an 808 electro beat into probably the most punishing moment on the record!
As well as being all kinds of gnarly, this lot have always tried to not take themselves too seriously and as always, the deadpan delivery between Gareth, Steve and Dan comes through with the great one liners; a particular highlight being ‘Beautiful Eyes!’, which I’m pretty sure is about Gareth’s meme account on Instagram. 10 years in and USA Nails show no signs of slowing down – if anything, ‘Feel Worse’ might be their most full throttle record to date, barely taking a second to breathe in its 26 minutes. As expected, this is another killer album from truly one of the best bands we have in our beloved underground scene.
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