Gallows @ Camden Underworld London 19/10/2012 review

After the much anticipated release of their self-titled album, the first to feature Wade MacNeil as their new vocalist, it's safe to say that everyone was both curious and excited to see how it would stand up against Grey Britain and Orchestra Of The Wolves which had triumphed in the world of hardcore punk and had both gained Gallows a massive following but also secured them a live reputation almost impossible to knock down. Would Wade MacNeil fill the massive gaping hole left by the compelling and destructive Frank Carter?

Unfortunately I missed almost all of Brotherhood of the Lake so first band of the night for me was the epic and savage Feed The Rhino (10/10). In just the first song of their set, we got a bitter and potent taste of the raw aggression that was to come, seeing a man being carried out of the moshpit after a mere half minute with his foot dangling by a thread. You might think that this would deter people from the moshpit, but you'd be wrong. The mass of people swarming the front of stage and hurling their bodies around the pit only increased as Feed The Rhino dragged them by hair and limb into their bloodthirsty frenzy of a show. Every single member has presence rivaling the frontman's Lee Tobin. There isn't a single moment of the show where Feed The Rhino are anything less than breathtaking. I've seen Feed The Rhino several times over the last couple of years, including at XOYO where they supported Gallows on their first ever show with Wade MacNeil, yet still they manage to surprise me and keep me on my toes at every single gig. Taking advantage of the lack of barrier, Lee Tobin demands the crowd to open up to make way for him to make the line between stage and floor vanish. Lee Tobin has always been a brilliant frontman, but this was his best show I've ever seen as he commands and hypnotises the audience. And then it's time for the finale of Feed The Rhino's set, which has now become a classic for me in live shows. The band throw themselves into the crowd instruments still in hand as the venue rings with distortion, reverb and white noise and are then left in the silence to wonder exactly had just happened. I'm sure that Feed The Rhino had gained quite a few fans that night.

And now for the moment we've all been waiting for: Gallows (10/10). Surprisingly Gallows start their set with an old song Misery which has been the classic opener since it's birth. Though it was insanely effective as it showed us that just because Frank Carter isn't singing it anymore doesn't mean its lost its power and brute, as Wade MacNeil bellows out "Fuck!" that signature Gallows aggression has not been lost. In fact, if anything they are even more dynamic and domineering. Frank Carter used to command most of the spotlight with his argumentative and forceful demeanor, taking it away from the other members. However, this time it was not the case. Stuart Gili-Ross hasn't looked as though he hasn't enjoyed himself at a show that much in a long time! He seemed to be spending more time on top of the crowd than on stage, and Steph Carter was grinning almost the whole set. Gallows have been reborn except with what feels like more passion and also more contentment. Songs of their new album command as much attention and ecstasy from the crowd as any of their older material, if not more. The wails and roars of the crowd reverberate through Underworld as Outsider Art possesses the crowd with its' captivating chorus, "Our lives, they collide!", and Cross of Lorraine propels the crowd into a horde of moshing and headbanging. The end of Cross of Lorraine, with is pounding drums, drove to crowd to the brink of insanity to be left with white noise and the inevitable wait for the encore. And sure enough, the intro of Victim Culture was faintly heard beneath the bellows of the crowd, and Wade MacNeil comes on to howl "In Us, We Trust!". But of course, it was finisher Orchestra of the Wolves that, as always, was the highlight of show. Bodies were launching onto the stage and thrown off as quickly as they appeared. The crowd was one unified frantic heap of bodies struggling to stand as they were taken aback by the force that was Gallows.

I admit, it's pretty hard for me to be impartial when it comes to Feed The Rhino and Gallows, two of my favourite live bands in the world, though now that the number of times I've seen Gallows is well into double digits, I can say that Gallows have not lost any of the reputation that must be so hard to uphold. If anything, they have gone back to their roots; playing small shows to avid punk fans. Their dynamic has changed completely though, they are no longer a one man show. Every member of the band has their own spotlight, and their better for that. There could not have been a better choice in vocalist than Wade MacNeil, who now must be one of the most loved people in punk as the crowd consistently chant his name. It's safe to say that Gallows are here to stay and are yet again ready to take over the world of punk for the second time.

Check out my review of Gallows' self-titled review here : http://josiehasahardcorepunkblog.blogspot.co.uk/2012/09/gallows-gallows-review-2012-venn-records.html

Gallows - 'Gallows' review (2012 - Venn Records)

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