I am sure that a high percentage of Gallows fans thought that the band would be dead in the water following the sudden and shocking departure of enigmatic frontman Frank Carter back in the summer. But true to spirited form, the band soldiered on, and following the timely breakup of Alexisonfire, Wade MacNeil (guitarist of said band) joined up with Gallows, becoming the band’s new singer. It was a decision that split the fans, some believing that without Frank, Gallows would just not work, and others keeping the faith despite the obvious big changes that would have to happen.
MacNeil was a controversial choice, given his Canadian nationality, as Gallows are considered one of the best hardcore punk acts of the UK, partly because they are so quintessentially British. Gone would be the accented growls of Carter, replaced by something far more ‘mainstream’ and ‘generic’, some would argue. But the band have done all they can to break the mould, refusing to straight up imitate the band they were on debut album ‘Orchestra of Wolves’ and the phenomenal follow up ‘Grey Britain’. Whatever they released next, with or without Carter, they would have to throw out the rulebook and move onto something entirely fresh, which is exactly what the band have done with their brand new EP, ‘Death Is Birth’. They are, of course, the same old band, just with somebody different holding the microphone. How much of a difference can that make?
Just a couple of weeks after MacNeil joined the band, a 37 second teaser track entitled ‘True Colours’ was released, showing the exact intentions of Gallows to play something heavier than they ever have before with an emphasis on back-to-basics hardcore paired with their familiar ‘take no prisoners’ attitude. Following the AP tour in the US with the likes of Four Year Strong and Sharks (which allowed the band to gel as a live act and work out any kinks) the EP dropped in early December with a bang. The 4 tracks show that Gallows have grown as a band in the short time since Frank Carter’s departure and that MacNeil has stood up to be counted as a suitable replacement. That is the last time the ghost of Carter will be mentioned, because this is the new Gallows and this is ‘Death Is Birth’.
The EP is a frantic affair, clocking in at less than 8 minutes, and it’s a considerable ear bashing. ‘Mondo Chaos’ is our first taste of what the intentions the new inclination of Gallows have to offer, and the song (released one week before the EP as a single) is the most accessible of the four, introducing Wade’s raw and passionate vocals, which tear across the polished and effective heavy riffs. The track flows from each destructive and aggressive part to the next, with the anarchic chants of ‘Fuck the world!’ just begging to be yelled along to. This is a song that is sure to get the crowds involved at future live shows, with the final repeated statement of ‘What you gunna do about it?’ repeating until the last rip-roaring chorus. It’s 2 and a half minutes of pure Gallows fun.
‘True Colours’ has been re-recorded following its release as a teaser, and it’s quite confusing as to why. The original release was a short burst of unashamed thrash punk and this version takes away much of that brutality. Additional guitars (including some screeching feedback) and gang vocals make the track feel slightly overdone and perhaps overthought. It still packs a punch but the reasoning behind a re-recording is not clear, especially after the rousing hype the original created.
‘Hate! Hate! Hate!’ is in the same vein as the previous two tracks, a showcase of musical violence with an undercurrent of untapped aggression that bubbles beneath the thunderous drums and battering guitars like the bubbles of boiling water. Before the EP gets the chance to break into a real stride, the last track (which is also the title track, ‘Death Is Birth’) leaves a lasting impression as a relentless barrage of heavy punk that breaks free of everything that could hold it back, existing as a self-sufficient beast that feels so original that this EP could have come from a brand new band entirely. The constant screams of ‘Death is birth!’ feel like a commentary on the last few months for the band, which could be disconcerting as a musical theme but doesn’t once feel like that.
‘Death Is Birth’ is an accomplished group of songs from a band in transition, the sound they have to their name skilled and flawless due to 4/5 of the band having played together for years and the final piece of the puzzle being a vocalist who has just as much talent as he does desire. If a new full length album from Gallows is to land in 2012, then punk rock fans better clean out their ears and get ready for another furious attack, because I get the impression that this band are just getting back into the swing of things.
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