Before 2012, Gallows were the quintessential modern British punk band and their frontman Frank Carter was the loud-mouthed, scrawny, offensive driving force. In live shows, he was a punching flurry of limbs; in songs, he was controversial bringing lyrics such as "I don't want you passing out, I want you sucking my dick" into the violent mix. Then Wade MacNeil shows up, with his Canadian heritage, already carrying the worldwide success of post-hardcore band Alexisonfire securely under his belt, to stir up the Gallows formula.
Even though Lags' songwriting skills are immense, I still had doubts as to whether this band would come out of this decisive line-up change remaining as a vital part of the modern punk scene. But these doubts have been put to bed. Principally, before listening to 'Gallows' you must bear in mind that Wade MacNeil is not Frank Carter, and he is no way trying to be a replacement. This new Gallows are not the same Gallows following 'Grey Britain'. In fact, they may be better, more mature and more relevant.
Instantly, Gallows grab us by the throat and demand our attention with Victim Culture: "Do you think they're out to get you?". Without a doubt, Gallows are still out to get us. The opener culminates into an aggressive whirlwind of a track setting the tone for the rest of the album: "There's no way out. There's no escape from the vicious circle we embrace." For the next half an hour, that unquestionably is the case as they tighten their grip with Everybody Loves You (When You're Dead) and then with Last June (the first single from the album) and its bold bass line and thumping drums to kick off this anthem to a signature Steph Carter solo. Outsider Art may be my favourite off the album as this the first time Wade's vocals are really explored and exploited. This track simply would not have worked with Frank; it needed Wade's trademark gruffness to give Outsider Art its haunting feel. Just as we feel like we have been giving a little bit of a breather with Outsider Art, Vapid Adolescent Blues then drags us into a hypothetical circle pit. It represents more of a Trash Talk track as opposed to Gallows.
Gallows also haven't lost their political, hard-hitting, controversial lyrics as Austere demonstrates. The difference is that as 'Grey Britain' was a commentary on mostly Britain, 'Gallows' is applicable everywhere, everywhere where there's violence, dictatorship or extremism. Cult of Mary asserts that Gallows are still not afraid to raise a few eyebrows with divisive lyrics "Cult of Mary, crucified Christ. Pagan blood for the religious Reich".
After an exhausting half an hour of some of the most angry and ferocious punk, the finale to this epic whirlwind, Cross of Lorraine, still won't let you go. It climaxes to a massive ending where you can't but help get up to the pounding drums which keeps on propelling you further into this captivating album until it all fades into a blur of ringing white noise.
'Gallows' is sure to maintain Gallows' reputation as one of the best modern punk bands, if not bring them yet more fame from across the Atlantic. Where 'Orchestra of the Wolves' and 'Grey Britain' were angry, violent records, 'Gallows' is also haunting and dark. Maybe it's because Frank Carter held the other members back creativity or maybe it's because they have all matured and learnt from experience, but every single member is on the top of their game writing some of the best riffs and lyrics yet over the most explosive drumming yet. Any fan of punk, hardcore or just decent music should give 'Gallows' a listen. in a year or so it will undoubtedly become the guide to brilliant aggressive music.
Overall Rating: 9/10
Even though Lags' songwriting skills are immense, I still had doubts as to whether this band would come out of this decisive line-up change remaining as a vital part of the modern punk scene. But these doubts have been put to bed. Principally, before listening to 'Gallows' you must bear in mind that Wade MacNeil is not Frank Carter, and he is no way trying to be a replacement. This new Gallows are not the same Gallows following 'Grey Britain'. In fact, they may be better, more mature and more relevant.
Instantly, Gallows grab us by the throat and demand our attention with Victim Culture: "Do you think they're out to get you?". Without a doubt, Gallows are still out to get us. The opener culminates into an aggressive whirlwind of a track setting the tone for the rest of the album: "There's no way out. There's no escape from the vicious circle we embrace." For the next half an hour, that unquestionably is the case as they tighten their grip with Everybody Loves You (When You're Dead) and then with Last June (the first single from the album) and its bold bass line and thumping drums to kick off this anthem to a signature Steph Carter solo. Outsider Art may be my favourite off the album as this the first time Wade's vocals are really explored and exploited. This track simply would not have worked with Frank; it needed Wade's trademark gruffness to give Outsider Art its haunting feel. Just as we feel like we have been giving a little bit of a breather with Outsider Art, Vapid Adolescent Blues then drags us into a hypothetical circle pit. It represents more of a Trash Talk track as opposed to Gallows.
Gallows also haven't lost their political, hard-hitting, controversial lyrics as Austere demonstrates. The difference is that as 'Grey Britain' was a commentary on mostly Britain, 'Gallows' is applicable everywhere, everywhere where there's violence, dictatorship or extremism. Cult of Mary asserts that Gallows are still not afraid to raise a few eyebrows with divisive lyrics "Cult of Mary, crucified Christ. Pagan blood for the religious Reich".
After an exhausting half an hour of some of the most angry and ferocious punk, the finale to this epic whirlwind, Cross of Lorraine, still won't let you go. It climaxes to a massive ending where you can't but help get up to the pounding drums which keeps on propelling you further into this captivating album until it all fades into a blur of ringing white noise.
'Gallows' is sure to maintain Gallows' reputation as one of the best modern punk bands, if not bring them yet more fame from across the Atlantic. Where 'Orchestra of the Wolves' and 'Grey Britain' were angry, violent records, 'Gallows' is also haunting and dark. Maybe it's because Frank Carter held the other members back creativity or maybe it's because they have all matured and learnt from experience, but every single member is on the top of their game writing some of the best riffs and lyrics yet over the most explosive drumming yet. Any fan of punk, hardcore or just decent music should give 'Gallows' a listen. in a year or so it will undoubtedly become the guide to brilliant aggressive music.
Overall Rating: 9/10
You've made some really clever and insightful observations. Well done you! have to agree...
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