Creature: They’re Only Just Getting Started
Birmingham’s CREATURE maybe new faces in the post-hardcore scene, but their approach to bashing down the doors comes with a welcome air of defiance. Determined to find their feet, the trio are midway through releasing a triptych of EPs, the second of which is a savage marriage of whirlwind melodies and dizzyingly brutal riffs that make for a perfect maelstrom.
Influenced by the likes of REFUSED, EVERY TIME I DIE and THE DILLINGER ESCAPE PLAN among others (as well as being cited as the UK’s answer to CONVERGE), CREATURE attack their four track EPs with an energy and creativity that far outweighs the justification of simply being compared to their contemporaries. Cold Man’s World, opener to their newest release HOUND, is an immediate assault, centred around a beast of a chorus that makes you want to put your fist through a wall. Black Dog, both menacingly playful and anthemic; from its noodly guitar melodies that emerge above the mix to an acoustic guitar driven hook, showcase the bands penchant for excellent songwriting that isn’t afraid to shy away from convention. Lifeless and Fools Curse rage in a sea of darkness that makes HOUND feel like it spans across the many pock marks scarring the genre snobbery of the alternative world.
Having spent many years in various bands, CREATURE‘s members found each other in the Birmingham scene, driven by guitarist/vocalist James Thompson and drummer Tom Bradshaw’s desire to create something ‘nasty and raw sounding’. “We’ve all been in a number of different bands over the years and all have experienced various levels of the music industry,” says Thompson. “We were both in between bands at the time so we worked on some demos and Dan Willett [bass], who works as a producer in Birmingham, smashed it when we jammed and joined the fold. We experimented with other members too, but eventually we felt more comfortable as a trio as we trust our individual musical abilities.”
Armed and ready to conquer, the band set about getting their variation of nastiness out into the world. They’ve decided top release three EPs in succession as opposed to a debut full-length starting with HEX, HOUND and a third still waiting in the wings ready for an airing. “We recorded the 12 songs in one 10 day session with Steve Sears – but we were still finding our sound as a band. We felt the songs expanded and developed as our writing progressed after spending more time together creatively. So artistically it made sense for us to release the tracks as a connected series that reflected the journey we were on, rather than one album. For example, HOUND sees us evolve from the straight-up raw energy of HEX – adding dynamics, textures and sonic layers not present the first release,” explains Bradshaw.
“We wanted all three EPs to sound…’real’. My opinion is that timeless heavy records have an energy and authenticity to them – so we were determined for this to be the case with our trilogy,” adds Thompson. “In terms of lyrical content – they all have themes running through them that address the darker elements of mankind, reflecting on mental health issues caused by consumerism, power, corruption and greed to name a few.”
It’s these themes that are the driving force behind the relativity of the trilogy, rooted in modern issues such as fake news online (as found in Lifeless) to the cruelty mankind inflict on each other all wrapped in superstitious metaphors. “The great thing about art is that it is open to interpretation. Luke Preece designed our artwork and we’re extremely proud of it. The HEX cover is symbolically a representation of our track Witch’s Grip and HOUND is referring to track two from the second EP Black Dog. Luke and I are old friends and I’ve always been a huge fan of his work. We briefed him on the lyrical themes for each release, sent the music and discussed some basic concepts – but the designs and visual magic was all his doing. It was quite humbling that he was so passionate about the band and that came across in the pieces. We couldn’t have asked for a better creative to bring our work to life,” says Thompson.
“While some of the topics are set in the modern world – the themes and imagery running through them are timeless: the pressure of life, corruption, power, conflict, money etc,” adds Bradshaw. “The line-drawn artwork has a timeless quality that reflects this and we loved that the artistic metaphors could apply to subjects within a modern context. Black Dog has long been a symbol of depression and suicide is such a big killer today, so Luke depicting a vicious wolf to reflect this was perfect.”
CREATURE don’t seem to be a band that wants to follow in another’s footsteps or mould themselves to be able to fit in: instead they are carving out their own path in any which way they deem fit. They’re a band that are hungry for making a noise and hungry to create something authentic with a disturbing amount of energy and vitriol that one listen to their records is almost exhilarating. Now ready to take their efforts on the road, if CREATURE can replicate their records into a live setting there could be no stopping them. “The live expression of our creative offering is always the most rewarding for us as a band – playing to like-minded people, meeting new bands and thriving off the buzz each night. We promise energy, passion and chaos,” says Wilett.
“There is also new material being worked on and plenty to sink our teeth into,” adds Thompson. “CREATURE is only just getting started.”
Hound is out now via Grey Ghost Records.
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