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He started to mould the band’s songs differently.
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He traded jamming for hours on end in the practice room with Thorpe for Logic software and his Kemper amp. Because of the pandemic, Baines invested in a home-recording system. Parts are bartered and swapped and tested in different songs. There’s a lot of horse-trading that goes on in Malevolence when it comes to songwriting. Baines explains they held the songs back so as to ‘put together a more flowing record afterwards’. They demoed the first singles from ‘Malicious Intent’ – “Life Sentence” and “On Broken Glass” – at the same time as the songs from the EP. Baines and Thorpe knocked about the riffs of the album’s third single, “Still Waters Run Deep”, while they were writing ‘Self Supremacy’. ‘Malicious Intent’ was alive long before the pandemic set in. A grateful part of the crowd, I understand the euphoria and excitement Baines describes of these reborn festival appearances. That was the first live music I saw in 18 months. I arrived in front of the main stage as they launched into the slippery groove of “Serpent’s Chokehold” from ‘Reign of Suffering’. But another band pulled out due to illness, bumping Malev’s slot. I got caught in a traffic jam on my way there and thought I’d miss them. Malevolence played at the Bloodstock Festival the following month. Their set was early in the day, but the crowd went ballistic, roaring out the words to songs they had lived with in isolation for a year.
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They were met by adulation when they emerged to play the government-sanctioned, downsized Download Festival Pilot in July last year. After ten years of rehearsing in a grim, remote industrial estate, the band created what Baines calls ‘a hub for everyone’. When lockdown restrictions permitted, they put in the electrics, soundproofed, plastered and decorated. Malevolence leased a new warehouse space to house their merch, a practice room, and a studio (the building’s former toilet). There was defiance (“Remain Unbeaten”), disdain (“Keep Your Distance” – an inadvertent anthem for social distancing) and despondency (“The Other Side”). They put out three videos for the EP’s contrasting songs, each of which inhabited the feelings of the uncertain new era the world found itself in. Rather than disappear without a trace, the EP’s renown started spreading – like the virus itself. They established MLVLTD Music in late 2019 and released the EP in April 2020, in the midst of the raging COVID pandemic and a locked-down world.
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So it means that we own everything and we’ve got full control of how it’s done.’ ‘No one wanted to touch it so we were like, alright, sweet, we’ll just do it ourselves. They hoped someone would sign it alongside a new album. They were steadily building themselves up and cut a new EP called ‘The Other Side’. Intimidating affairs with flash cars (on lease) and the band in streetwear (models’ own), they developed a musical and visual aesthetic reflecting a tough world for tough young men. They chewed up the sound of the New Wave of American Heavy Metal from the early 2000s along with modern hardcore, and spat it out on the pavements they marauded in their self-produced music videos. They released their debut album ‘Reign of Suffering’ in 2013 and then ‘Self Supremacy’ in 2017. The band is a classic case of an overnight sensation – ten years in the making. Lead vocalist Alex Taylor completed the lineup. They had two bands – Dark Angels (yes, plural) and Decimate – before joining bassist Wilkie Robinson and drummer Charlie Thorpe in Malevolence. Recognising each other as kindred spirits in metal T-shirts with long hair, they were soon jamming together. They met at the bike track near their homes in the city of Sheffield in northern England.
Baines has known fellow guitarist and singer Konan Hall since they were eleven.
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