Benefits' Constant Noise: Release at Rough Trade and Album Review
- Angelika May
- Apr 1
- 3 min read
Updated: Apr 2
Words by Angelika May
Constant Noise, the latest release from Benefits, following their explosive 2023 album Nails, is a relentless barrage of sonic intensity and a visceral symphony of pleasure, pain and resilience under a tyrannical socio-economic situation. The album launch at Rough Trade East was nothing short of electrifying, an immersive experience, as the songs were performed in a captivating, almost balletic style from frontman Kingsley Hall. Hall’s stage presence intertwined seamlessly with the relentless propulsion of Robie Major’s distorted bass, jagged, otherworldly synth textures, and an undercurrent of swelling, melancholic violin. The band didn’t miss the mark to continue their signature spoken-word poetry in a Sprechgesang style in an almost incantatory vocal performance that was both commanding and vulnerable.
The opening track, Constant Noise, which was performed as their first song, begins with a deep, choral-like hum that washes over the audience, like a slow, rolling wave. Hall’s hushed, calming vocals carry us gently through the track. As the track unfolds, the waves build up and spill into the rip of middle-class comforts and the relentless, cyclical nature of pushing forward despite the ever-present noise. This is Benefits' Myth of Sisyphus, a meditation on endurance in an unceasing world. Next, they launched into Land of the Tyrants, a track that initially mirrors the atmospheric style of Constant Noise. As the drum machines kick in, it transforms, infused with a raw, nostalgic ’90s grunge energy. It’s the kind of track that would feel right at home in Trainspotting 3, should Danny Boyle ever decide to bring that world back to life.
Divide saw the band joined by rapper Shakk, whose electrifying presence injected a fresh, dynamic energy into the track. His sharp delivery elevated the performance, making it one of the standout moments of the set.
The lyrics on this track are among the most hard-hitting, reflecting the state of global affairs that seep into our own politics—always at the expense of the most vulnerable in society. “We don’t exist, we don’t resist, we are just statistics,” sets the tone, painting an unfiltered picture of division and decay. Lines like “Face down in the dirt, in the litter, in the shit, with the rats,” create a stark image of a country fractured by class, corruption, and quiet desperation.
Amidst the division, drudgery, and despair, a quiet radiance endures. This sense of resilience isn’t grand or triumphant, instead, it is found in the hum of lawnmowers drowning out birdsong, in the dull glow of a jukebox stared blankly on a Sunday afternoon. It lingers in the clink of bottles in the wheelie bin, the low murmur of fantasy football debates, and the stale scent of proper man’s beer.
In Everything Is Going to Be Alright, there is a light that flickers in the mundane, the messy, the in-between moments where life drags and sways. It’s in the blurry stumble home, the feigned sobriety past that boring neighbour and his pavement-fouling dog. It’s in the whispered art of unlocking the front door without a sound, expertly dodging the creaky floorboards like a drunken antique on a mission.
Even in the absurd—violet vomit coating the pub toilet floor, wet feet slipping out the emergency exit, the last warm comfort of a dog bed—the refrain remains. Through bulging veins at the carvery, silent screams on a muted TV screen, and the dull ache of another wasted night, the words loop like a mantra: Everything’s gonna be alright. Everything’s gonna be alright.
As Benefits continue to carve out a bold and uncompromising space for themselves, they remain one of the most electrifying and essential voices within the London grassroots scene. With each release, Benefits are reshaping the sound of modern protest music.
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