Gig Review – Gallows at The Fleece, Bristol (03-10-12)

The Fleece welcomed back rowdy UK punk five-piece Gallows to their fine venue some 16 months after their last performance there, the band having undergone some considerable and ground-shaking changes, in particular the addition of brand new frontman Wade MacNeil following talisman Frank Carter’s decision to leave the fold for pastures new with musical project Pure Love. Former Alexisonfire guitarist MacNeil has cast doubters to the wind with his vocals on last year’s EP ‘Death Is Birth’ and the recent self-titled album. While it was most definitely a different Gallows that appeared on stage at The Fleece, it was a band with a renewed hunger and energy for live shows, a point needing to be proved for anybody who wanted to remove them from their throne upon the UK hardcore scene.

The whole night felt like it was going to be a huge one, and right from the get-go, the sheer volume and passion from the bands on stage grabbed the attention of everybody and refused to let go. Brotherhood of the Lake opened the show with 30 minutes of dark, doom-fuelled riffs, their understated performance working the crowd into a swaying frenzy. The dark songs and bleak lyrics combine in a way that is quite compelling to watch, and some of the tracks from latest release ‘Desperation Is The English Way Vol. 1’ hit hard. A highlight from the set is ‘Black Hearts’ which cuts through the distortion with a hook that’s quite anthemic, something BOTL don’t seem to commonly deliver. 

Feed the Rhino waltz on stage to a drum and bass intro, gazing wild eyed into the crowd and calmly strapping on their instruments. When the first track smashes in, the energy and rage that erupts from all (including charismatic frontman Lee Tobin) is a bit of a shock, the heaviness created by the band both skull-smashing and chest-stomping. The pit gets in full swing as FTR tear through songs from their latest album ‘The Burning Sons’ (the title track being a highlight) with a ferocity that is unrivalled by many. Tobin springs into the carnage, stepping on heads and shoulders to fight his way through the bodies, every single person in the room lapping up the likes of ‘Mr Red Eye’, ‘The Butchers’ and another new track in the form of ‘Left For Ruins’. It’s a set that’s worthy of a headline slot, had FTR not been playing second fiddle to Gallows. It won’t be long before this band are the ones selling out the venues and a headline tour must surely soon be on the horizon. 

Gallows storm onto stage in formidable fashion, dropping into opening song ‘Misery’ as easily as they ever have, it’s quite clear that Wade is a commanding force, his physical appearance everything as menacing as the raw tone of his voice. The band bring tracks from the new album to the plate with venom, highlights including ‘Last June’ (which generates a rousing reception from the crowd) and ‘Odessa’, the heaviness being delivered with effortless cool. The energy from the band is pleasing as tracks from the ‘Death Is Birth’ EP are screamed along to by the swaying, sweaty masses, Gallows fan of old and new knowing every single word. The Frank era songs (‘In The Belly Of A Shark’, ‘Abandon Ship’, etc) is where Wade’s test really lies, and for many the main talking point when coming away from this show. But the big man delivers, the songs perhaps not seeming as personal to him as his own, but each word bellowing out of him in a convincing fashion. It’s an exhausting performance for both band and audience. The final riot of ‘Orchestra of Wolves’ pushes the crazy factor up a notch and when the band finally leave the stage, everybody in the room is convinced (if they weren’t already) that Gallows may be different, but they’re definitely one of the best live acts in the country right now.

Here's some videos I managed to capture on the night!

Gig Review – While She Sleeps at The Fleece, Bristol (03-10-12)

There was a sense of growing anticipation in Bristol’s Fleece last Wednesday as the idea of one of the best new bands in the country, Sheffield’s While She Sleeps (in the middle of the ‘This Is The Six’ tour – which has been selling out venues all over the UK), taking to the stage in such an intimate venue began to hit home. Supported by some fantastic acts in the shape of hardcore band POLAR, Japanese electronic metallers Crossfaith and Glasgow’s Bleed From Within, this was particularly unmissable for fans of modern metal. With The Fleece packed to the rafters and a WSS t-shirt adorning the body of every 3 or 5 punters, it was clear that this was going to be one superb show, and the bands certainly didn’t disappoint those expectations. 

Kicking off the night are POLAR, living up to the tag of ‘big beats, strong booze, loose morals, good times’, going straight for the throat from the off with heavy punk track after heavy punk track, the bellowing screamed vocals shaking the venue and a high percentage of the crowd losing their cool very early on. The pit gets crazy as the band deliver classic tracks from their ‘This Polar Noise’ EP (including the spectacular ‘Tonight Matthew I Am The Batman’) and new songs from the ‘Iron Lungs’ full-length release. The likes of ‘K.C.M.’ and ‘H.E.L.L.’ (plus other non-acronym titled tracks) sound great live and while some would argue that it's definitely too early in the night for a wall of death, POLAR clearly wouldn't. The band evidently want to do more than just get the crowd warmed up, they also want to leave them bruised and broken. 

Next up are Japanese five-piece Crossfaith, appearing for the second time this year in Bristol after coming to the same venue on tour with Of Mice & Men and Bury Tomorrow several months ago. The band are confident and energetic in their performance, which fuses electronic elements with a progressive heavy metal style. The tracks are a joy to behold, and the crowd really invest in having a lot of fun with the band, who bounce around on stage like their lives depend upon it. Tracks from the 'Zion' EP are delivered with vigour and finesse, the band never seeming to tire with each and every breakdown. Songs such as 'Snake Code', 'Monolith' and a fantastic rendition of The Prodigy's 'Omen' really get the crowd moving, and it's an experience that Crossfaith lap up, smiles rarely leaving their faces. 

Scottish metalcore act Bleed From Within have a huge task as not only are they the main support act on this bill, but with what Crossfaith just produced on the same stage merely minutes ago, they have a lot to live up to. The five-piece do it with ease, however, keeping the tempo on full with furious heavy songs that produce some of the biggest circle pits of the night. Roaring vocals threaten to split The Fleece in two, while the technicality of the riffs from some great hair-circling guitarists are out of this world. They are as tight as you'd expect, working everybody into a frenzy before leaving the stage, the scene perfectly set for the headline act. 

The atmosphere in the room is bubbling away as While She Sleeps calmly arrive on stage, the band dropping swiftly into 'Until the Death' from new album 'This Is The Six', which creates a wall of sound which nearly knocks everybody in the venue to the ground. The metalcore riffs are intense, and the fiery passioned vocals from frontman Loz Taylor hit hard, every word coming from his mouth being sung loud by the majority of the crowd. WSS tear through much of their new record, with highlights including the title track, 'Our Courage, Our Cancer' and the phenomenal 'Be(lie)ve'. The group never seem overwhelmed by the constant barrage of crowd surfers arriving on stage (sometimes crashing into the band members); it just all seems like part of the fun for a band who are quite clearly in their element. Mini-album 'The North Stands For Nothing' isn't forgotten as some of the highlights from that release are revisited, and it's brilliant to see them translate to the live stage. The title track as well as set closer ‘Crows’ generates the biggest reaction from the crowd, but the show reaches what seem like unachievable heights with encore track 'Seven Hills', cementing the band as one of the best live acts in the country right now. WSS will be playing stages much, much bigger than this very soon, and it's definitely what they deserve. One of the craziest nights at The Fleece so far this year!

Here's some footage I managed to capture!

EP Review – Cauls : EP2 (2012)

North East post-hardcore outfit Cauls release their second EP with a bang, their progressive sound a distinctive and memorable beast, the sounds they create weaved from an unruly combination of melody and aggression. The five songs found on 'EP2' are intense, unpredictable and delivered with a exciting efficiency that makes this record a superb listen.

An eerie pulsating beat begins with 'Whistler', the opening track having echoes of the soundtrack to John Carpenter's classic 80s horror flick, 'The Thing'. The beat increases with various percussion, building slowly with haunting instrumentals and wailing vocals that sound like a combination of Trent Reznor and Thom Yorke. The slow, steady approach threatens to explode on occasion, and when it finally does, the full force of the instrumentals create a wall of feedback and pounding drums. 'No Motion' begins in much more straightforward fashion, with rolling bass and a solid beat allowing the distinctive vocal style to thrive. Progressive song structures stand out and the post-hardcore rhythms feel organic and refreshing. Influences appear to come from avenues as different as The Mars Volta and early Biffy Clyro, but all of the ideas in the melting pot really work well.

 

'Iris Brickfield' begins with distant guitar notes building into a understated verse with whispered vocals and stop-start bass, the clean guitars soon taking over and vocals soon joining them. The lyrics soar as the song erupts, the subtlety soon forgotten in a tornado of passion and menace. 'The Durande' is an atmospheric musical interlude that calms proceedings before the 8 minute behemoth of EP closer 'Ahsonnutli', which is a huge experimental canvas of noise, the ideas constantly threatening to overflow but not in a way that makes the track any less enjoyable. Furious guitars combine with crashing cymbals and snares, the song swaying and switching constantly, the band pulling off some tricks that throw a spanner into the works of standard song structure, and that makes the finale of 'EP2' a wonderful listen.

'EP2' from Cauls is a gratifying experience and definitely worth a great deal of attention.

Album Review – Gallows : Gallows (2012)

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.