It’s rare that a band becomes so renowned and influential with their debut release, but that’s exactly what grungegaze powerhouses Bleed achieved back in 2021 with the release of their debut EP, Somebody’s Closer. Between then and now, a plethora of imitators have spawned, but none have quite captured the magic that Bleed are able to produce – albeit a handful have come close. Now coming up on four years since their initial release, Bleed are back, and they mean business.
Worth stating upfront is that bands of this sort of sound typically struggle to put out a full-length release without some aspects of it feeling tired come the end of the record. For Bleed, this is absolutely not the case, as they effortlessly intertwine aspects of various adjacent genres throughout the album to keep things consistently fresh. Whether it be through the use of turntable scratches, breakcore, or a feature, there’s a lot of care gone into this album to ensure that every moment feels special. An experiment in refinement, Bleed sees the band both continuing to do what they’re already renowned for, but also expanding their horizons massively.
Kicking off as it means to go on, opener “Climbing Down” sees the band instantly entering unknown territory, with prominent turntable scratches adorning the track throughout. These scratches return at various points across the record, and each usage manages to add a new spin to the band’s sound. It’s worth noting that there’s a clear shift in influence across this album, feeling much more nu-metal inspired than the band’s previous efforts. That’s not a bad thing though, and it’s something which, once again, allows Bleed to stand above their peers as pioneers in what has quickly become a saturated genre. Notably, “Fixate”, and “Cynical” showcase this, with the band employing far more riff-forward structures to lead the tracks forwards.
The inclusion of “Killing Time”, which was released three years prior to the album’s second single, on the album is a bit of a head-scratcher. There’s absolutely nothing wrong with the track, and it is certainly at home in the context of the album, but I can’t help but question why it was released so early. Was there an initial plan to release the album sooner, or was this always the plan? Admittedly, I’ve listened to the track enough over the last few years that its inclusion did feel somewhat stale in comparison to the rest of the album. However, I won’t hold that against the band, as I’m sure for many more casual listeners and new fans, this won’t be the case.
Another key change to the band’s sound is their usage of screamed vocals. Yes, there may have been a few on their debut EP, but they now feel much more ingrained within the band’s sound. Consistently strewn throughout the album, these screamed segments serve well to keep things varied and fresh. That’s not to say that vocalist Ryan Hughes’ vocal style feels one-note though; in fact, he also showcases a much wider range here in both tone and style, whilst still not straying too far from their iconic sound. It’s in this area where Bleed excel, with this variety really setting them apart. Many a time I’ve found myself listening to a grungegaze album and growing tired of the vocals due to a consistent monotonous approach, but here that is simply not the case, and it’s something that deserves massive praise.
I’d be remiss if I didn’t also talk about Static Dress frontman Olli Appleyard’s stellar feature on “Enjoy Your Stay”, with his signature screams cutting through the noise like a hot knife through butter, whilst also juxtaposed with much smoother, more nuanced clean vocals from him as well. The spot feels as though it was always intended for him, and it’s hard to see anybody else filling the space as well as he does.
“Shallow” sees the band try out an entirely new sound, starting out with acoustic guitars and hand-drums of some sort, before slowly reintroducing aspects of their previous tracks. This ‘stripped back’ approach makes the whole thing feel much more personal, and overall impactful. Lyrical content shines through here, with the line “show me what’s left of who I used to know” particularly coming through and hitting me like a tonne of bricks upon initial listen. There’s a clear emotional toil behind the writing here, and this diversified sound truly highlights that. Interestingly, the track suddenly cuts off, leaving you wondering “why?”.
Bleed is an overall gutsy effort, and you’ve got to be confident in your abilities to release anything as a self-titled release, let alone your debut album. That confidence is absolutely deserved, as Bleed put on a masterclass display in how to craft a consistent, yet varied, debut release which expands upon an established sound without sacrificing the core values. For a band that some had initially written off as ‘just a side project,’ Bleed showcase a level of mastery that many bands strive to attain, and I for one can’t wait to experience this in a live setting in the, hopefully, not so distant future!
9/10
Bleed releases on May 2nd via 20 Buck Spin, and preorders can be found at 20 Buck Spin (US) and Devil Dog Distro.