Hailing from Asterdam, Benedict’s forging as both a producer and songwriter comes from the tragic incident he experienced when only 17 years old. Since being stabbed, music has always been a way to let go of his emotions. His compositions explore the complex tangle of feelings that follow such a traumatic event. For such a raw topic, Benedict’s music is very controlled and intricate, whilst still dripping with emotion. Inspired by the likes of The National, Tindersticks and Nick Cave, Benedict’s sound is an intense fusion of rapid dance beats, sombre piano and the throbbing of brass and strings. Every track in his landmark debut album makes your heart shake with grief and hope. Benedict wishes that this record will be the final step towards coming to terms with the terrifying ordeal he experienced as a growing young man.
The album is kicked off by the single, ‘You’ve Lost Me Before’. An extremely pop-infused piano ostinato quickly gives way to the pounding beat of drums and overdriven guitar. The percussion part gradually becomes more complex as an extra blanket of brass sound is added to the mix. The track is melancholy and determined simultaneously; it explores the fear and trepidation involved in restarting a relationship you had managed to put to rest. Benedict describes someone who has all the time for dreaming and none for loving. He does not want to choose between the two and ends up ruining both.
Benedict’s vocals are a source of emotion in themselves. Rough and indistinct, his voice is perfect for the atmospheric pop he has created.
On the other hand, ‘Mistaken For’ is purely despairing. Vividly depicting the aftermath of a painful experience, its lyrics are riddled with confusion and hurt. The ambiguous lyrics, “I’ve been mistaken for somebody else’s friend” provide a glimpse into the mind of someone adrift on their own sorrow. Perhaps, the track also refers to the difficulty of sharing deep traumas with friends, and how hard it is to be there for someone when you’re not there for yourself. Its dark aura is created by its fast yet subtle beat and its mesh of electronic sounds, violins and voices. However, above all, the mood emanates from Benedict’s unusual screeching and creaking sound effects.
Meanwhile, the acoustic-guitar track, ‘Finish the Wine’ is centred around misplaced hope among desperation. It talks about a relationship where both parties are lying to each other about what they want. The pretence that they are happy is a false one, with Benedict desiring more than the illicit affair he has got himself involved in. The track begins with rapid drums and the resounding of one continuous note. Its almost sinister and brooding mood is encapsulated in the moody violincello which swirls around the guitar part.
Benedict’s vocals are a source of emotion in themselves. Rough and indistinct, his voice is perfect for the atmospheric pop he has created. You are instantly transported into Benedict’s world by the huge quantity of synthesisers, strings, brass and even choirs that form the backing to every track.
‘See You Soon’ and ‘Talking ‘Bout Roses’ are both tentative piano ballads. The latter is an ode to a complete and pure relationship: one that forms clouds over his troubles and brightens his every day. In complete antithesis, ‘See You Soon’ recounts his tendency to ruin relationships. This recurring story is told through an anguished conversation with his past lovers.
See more of her work here
However, Benedict has more than that up his sleeve. His talent shines clearly through his experimentation with dance and rock music. The imagery of a ‘New Blue Moon’ is used to describe being reborn as a confident and self-loving human being. Whilst the track is clearly alluding to Benedict accepting both his physical and mental scars, the story can apply to anyone who needs this reminder: don’t compare yourself with others or let bad experiences make you forget who you are. Benedict reveals the difficulty of moving on through elements of glitch music alongside his habitual echoing piano notes.
‘Leave the Rain’ also incorporates areas of dubstep music, to portray Benedict’s pessimistic take on love. The song illustrates a relationship based purely on fixing another’s problems in an effort to forget your own. The speaker’s own insecurities get in the way of that, however – plunging him into a frenzy of doubt and fear that the relationship will end.
The highlight of the album is surely ‘When We Were Young’. Making the leap towards tackling his past, Benedict’s last single is his most honest and heart wrenching yet. Every one of his tricks are pulled: the piano, the strings, the synthesisers, the choir, the brass, the effects. Each instrument is delicately layered together to create a subtle piece despite its orchestra of sounds. This is the track where he vows his past will no longer affect his present, singing “This is the last time I will call”.
Every one of his tricks are pulled: the piano, the strings, the synthesisers, the choir, the brass, the effects.
Stay is very different. It feels like an indie-rock track with pounding bass and theatrical lead guitar. However, Benedict has produced the track so that the guitars feel distant in the mix. They almost blend with the ever-present drone of feedback to create an unbelievably unique take on guitar music. This is ideal for a song written about uncertainty and disorder. The first verses are undeniably in favour of terminating their relationship. He even suggests “burning the pictures I saved for you/ To make sure I carry on”. However, as soon as we reach the chorus, Benedict starts to beg, “Stay”. The relationship described is one that will inevitably keep repeating itself, yet to no avail. Benedict portrays a couple who can never truly move on.
Finally, the album is concluded by what first feels like a classical minimalist piece but ends up being symphonic. In the midst of an unhealthy relationship that swings between shouting matches and total silence, Benedict argues they’ll regret what they don’t say. The track alludes that underneath the turmoil, they still love each other and need to re-find what they once had.
If Benedict’s stories weren’t already clear in these ten heart rending tracks, they will be after you have watched his simplistic yet cinematic music videos... From the nostalgia of watching projections across a wall (‘Talking ‘Bour Roses’) to the falsity of singing in an empty disco (‘Finish the Wine’), each of his recordings spread his message as much as if they were filled with action. Benedict even dresses in drag and dances in the middle of a busy street to communicate the feeling of escapism evoked by ‘You’ve Lost Me Before’. Benedict’s character is content in that moment - just how his persona in the lyrics finds it impossible to be.
The movie for ‘When We Were Young’ is incomparable. It follows Benedict’s life from his teenage years to the performer he is today. Before any of that, we hear his messages of hope over the reverberations of a droning synthesiser. Benedict cryptically urges people to own all their pain and fears, allowing them to live on. Next, we get a glimpse into Benedict’s childhood home: his room, his friends, the beautiful country of Holland and the trails in the ground left by his motorcycle as he zooms around a nearby wasteland. The troubled teenager is gradually replaced by the gigging Benedict, who has finally moved on from the chaos of his adolescence.
There is so much to discover in every one of Benedict’s pieces.
‘You Can Tell Me Nothing That I Should’ is available on all streaming services.