Spluttering out of the Manchester scene, riding out on a wave of 90s nostalgia and the brattish tye dyed attitudes of the times, FLESH, loaded down with Grunge and Britpop sensibilities, present a sonic cocktail of brash and shamelessly obnoxious collection of tunes.

A project born out of environment early last year, with the two founding members sharing student accommodation together and thus deciding to collaborate on musical ideas, FLESH have carved out a sound that is both niche and distinct but wholly recognizable. Drawing from the culture and aiming to emphasize the epitome of early 90s Madchester rhythms, the band present a concoction of creative elements by drawing from the beats of early Oasis and Stone Roses records and blending them with Nirvana like ethics to create their own twisted version of a musical genre the band term ‘Snot Pop’.

Débuting this sound early last year with a cover of Babybird’s, ‘You’re Gorgeous, the band unleashed their rude and brazen statement of intent of, as they put it, ‘scrutinizing the raunch culture, bravado and 2D mentality of society’ through a wall of chorus drenched, distortion swamped guitars and snotty, brattish vocals. The subsequent release of ‘The FLESH EP’ saw the band expand on this sound further with songs like ‘W8 4 Me’, with its lurching, chorus smothered riffage owing itself to the Nevermind era of songwriting, and ‘No Body‘, a sleazy, lethargic slow jam that proclaims the current throw away attitude of mainstream culture with lyrics, ‘You were something baby, now you’re nothing baby, nobody loves you’, all adding to the pensive but slacker image the band aim for.

With the way the band hold themselves though, through sonic approach and the simplistic lyrics they purvey, it’s all too easy to give into the notion that what they may be doing is slightly childish. However, in previous interviews the band have described that their music ‘sums up the atmosphere in mainstream clubs in Britain….like lad culture and taking a pride in total ignorance’. It’s this slightly philosophical take upon their music that gives songs like ‘Her‘, also taken from the ‘FLESH EP’, a much more dense meaning when listening to the surface sounding boyish lyrics, ‘Get away from her he said, Get away from her or I’ll break your legs and smash your teeth in.’

Reflectively, once you’ve fully decoded what FLESH is, both visually and sonically, you uncover a band that knows exactly what they are doing. Sculpting an image by knowing precisely where they’ve come from and attaining substance by having clear direction in what they are trying to convey, FLESH’s cycle of a glittering mixture of everything 90s songwriting that is imbued with modern day social commentary is affirming that what the Manchester lads are doing will be keeping everyone’s attention firmly gripped into the future.

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