Gallows have persevered where
most bands would fall, carrying on with their heads held high and a spring in
their step after the departure of enigmatic frontman Frank Carter last year. Now,
it’s a shame to mention the past in the first sentence of this review, but the
only reason it has been done here is to put the ghost of Mr. Carter to rest,
because not only does the first full length release from Gallows with new
singer Wade MacNeil (former Alexisonfire) blow away any doubters, it might just
be the best damn thing this band have EVER released. That’s a bold statement,
considering the previous two releases have signalled a UK punk revival (‘Orchestra
of Wolves’) and brought the idea of a hardcore concept epic to life (‘Grey
Britain’), but this self-titled release is so raw, aggressive and pure, that it’s
hard not to think that it hasn’t always been this way. The sound Wade brings to
the band replaces venom with power, and it’s hard not to feel moved by that.
There’s no bullshit, no filler, no gimmicks – this album is straight up punk
with little else thrown in, and there are few bands in the UK today that can
and will ever come close to producing something as outstanding as this.
The album gets going with ‘Victim
Culture’, a tension driven intro pulsating steadily as a female voice details
the personality traits of a schizophrenic. It’s unnerving, which is a perfect
way to being the record, as it is at this point that anybody who has yet to
experience Wade with Gallows (or ‘Wallows’) will not be sure what to expect.
When the band come in, everything erupts in a tornado of fury and you are taken
off for a white knuckle ride that threatens to make you spew (in the best sense
of the word). Wade leads the charge with this great, shout-along punk track and
a fabulous hook (‘in us we trust!’). Hardcore riffs, fire in the belly vocals
and tight rhythms introduce this album in an unrivalled, hard-hitting fashion. ‘Everybody
Loves You (When You’re Dead)’ continues the assault, further signifying that
this album is a sign of intent from Gallows. The intense pace is retained, with
yet more thrashing riffs and punk poetry from MacNeil. Adrenaline fuelled good
times are had by all before everything stops suddenly and a hellish, distorted
bassline takes over, signifying the beginning f the album’s first single, ‘Last
June’. The track, which focuses on the London riots that occurred last year, is
a call to arms protest song of sorts with the visceral shouts of ‘A, C, A, B!’ displaying
the take no prisoners attitude of the band. That stands for ‘All Coppers Are
Bastards’ by the way, boys and girls. Raw aggression is channelled perfectly
and things are now really starting to get interesting.
‘Outsider Art’, another recent
single, builds slowly with Wade’s slow and steady melodic notes, pushing to
show to a huge, memorable hook. Gang vocals tear along, a heavy verse smashes
in and an understated bridge sets the scene for the Brit punk chorus to do the
rest of the work. It’s a measured approach that will no doubt reap many
rewards, as will the whirlwind of guitars and growled vocals on ‘Vapid
Adolescent Blues’. This track has echoes of the sound heard on the first
snippet of ‘Wallows’, the ‘Death Is Birth’ EP, but feels entirely new and in
keeping with this brand new path the band are taking. It’s dramatic, but I
still get the feeling like the writing/recording of this record was very quick
and even effortless, it just sounds like that in places. It flows incredibly
well, the transition from track to track seamless.
‘Austere’ steps up next, and it’s
short and snappy, perhaps the heaviest song on the album so far. Non-stop
hardcore punk guitars, thick as five slices of bread bass and passionate vocals
that help that fire in the belly grow by the second. ‘Depravers’ is dirty and
heavy, showcasing the musicianship of the band in a band new light. It’s full
of rage and while the riffs chug and switch, Wade helps us come to terms with
the fact that maybe, perhaps all along, his was meant to be in this band. A
massive sing-along chorus takes the record to cloud kicking heights, and it
coasts along a plateau up there as ‘Odessa’ arrives with incessant, memorable
licks. It utilises gang vocals to increase the feeling of unity, for the band
and listeners alike, and has a chorus that will stick in your head like chewing
gum in hair.
‘Nations/Never Enough’ is
continually heavy, with breakdowns aplenty and vocals that wail in a
spine-chilling manner, the attitude of this band as angry and resentful as ever
(further explored in a distant, furious outro where MacNeil yells ‘I was never
fucking enough for you!’). ‘Cult of Mary’ powers uphill, punk chords and an
overwhelming sinister feel pushing the Gallows sound to new avenues. The climax
is every bit as unnerving as the intro to the album, a child’s voice repeating
over instrumentals. Final track ‘Cross of Lorraine’ is crushing, exciting and
intense, putting butterflies in the stomach as well as sweat on the brow. It’s
true Gallows greatness, and this is perhaps one of the pinnacle tracks on this
revival records.
This album has more balls than
you’ve had hot dinners, and that’s what makes it so enjoyable. It’s awe-inspiring
at times, which makes it that much more addictive. Returning to the previous
albums is a pleasurable and nourishing experience as always, but to know that
once the catalyst for everything that gave Gallows a recognisable sound had
flown the coop helped produce what is likely to be the band’s best record and
perhaps the best record of 2012, it leaves them feeling slightly, well –
lacking. And that’s two albums that I am a MASSIVE fan of, which can mean only
one thing. Gallows, the self-titled album from a band coming to the end of a
major transition, is perfect in every sense of the word.
Here's a session Gallows recorded for BBC Radio 1 at Maida Vale studios.
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