Trying to pigeonhole music always seems such a pointless exercise. Benny Sensus is a typical example of there being no obvious hole to put them. They have integrated influences from a number of apparently dissonant sources so that on paper it looks like a random choice. In reality the fusion of indie, classical, rap, poetry, hiphop to name a few has produced something which is truly unique. Perhaps a bit disconcerting to the untutored ear on first hearing but once you acclimatise to this unusual polygamy then it all makes sense.
Their self-titled EP has six tracks which exemplify and demonstrate this extraordinary interface of species. ‘Awake’ opens with the much vaunted finger style guitar that is prevalent throughout the selection. Indeed musical prowess is an integral factor in this ambitious project being such an achievement. If the playing were lacklustre in the slightest they would not have pulled it off. The complexity of the arrangements necessitates competence to achieve, and therein lie the underpinnings of their accomplishment.
Any creation worth its salt often takes time to assimilate and appreciate. The insubstantial candy of disposable pop music and transient art can be immediately digested but leaves one feeling empty and under-nourished. With a work such as this the fruit ripens with each successive listening. Intricacies and delicacies become more available to the ear and familiarity, instead of breeding contempt, nurtures a deeper understanding of their aims and a growing appreciation of their music.
The opening track leads onto ‘Come undone’ whereby a beguiling interplay between Bow Bamonte’s vocals and Lewin Hayes passionate rap is planted against a traditional trelliswork of music. It’s a beguiling juxtaposition that demands attention but is rewarded by satisfaction. Jakk Tunnicliffe’s mournful cello adds significant gravitas to proceedings with its classical opulence, like well seasoned oak or vintage wine – strength and flavour. And throughout proceedings Matt Foreman and Stuart Shelley excel with their acoustic finger-work.
The next track, ‘Sync’, taken out of context from the rest of the EP could have been the work of some classical ensemble - an elegant instrumental interlude shared between guitar and cello, atmospheric and evocative. ‘Take it as a sign’, whilst it begins with some sweet strumming and attenuated cello, returns to another vocal narrative, finely wrought and further affirmation that these compositions are no flash in the pan or chance happenings. ‘Unstoppable’ then presents the same elements but as the basis to another rap executed in tandem with a foundation that almost has the watermark of traditional English Folk.
A good old-fashioned numerical count in heralds the last piece ‘What I am’ – a personal favourite – which is sometimes mediaeval in character and offers a sterling melody confidently delivered until it’s finally escorted to the end of the disc by pretty pizzicato strings.
Changes of rhythm and styles and rich vocals typify this band. One minute you’re being lulled by a gentle wash of strings, and then suddenly out of the blue the process is interjected by a punch of hard edged poetry. It would seem that if they chose to major in any one vein they would excel but as it is they are conceiving original work by cherry-picking inspirations and fusing them into songs that have their own signature stamped all over them.
They are modern minstrels, town criers with a message in more than one sense of the word, the tellers of morality tales set to music, and a variety act for the discerning muso. After all, who else would mix up such a smorgasbord on Youtube that could include Sousa’s march, The Liberty Bell – aka the Monty Python theme – together with renditions of Stevie Wonder or a really jaunty version of Crystalized!?
Review by Peter Heydon
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