After the departure of singer Frank Carter, the recruitment of
ex-Alexisonfire guitarist Wade MacNeil on vocals, an EP, and two free downloads,
Gallows release their 3rd full-length album on September 10th. The band stated
that the self-titled album, released through their own label Venn Records,
"musically defines the band known as Gallows as we exist today." And
if the Death Is Birth EP - released
last December - is anything to go by, Gallows can be defined as hardcore
that is angry, angry, and angry. But, we know what they say about assumptions.
As I press play I realise I was right not to make assumptions. In
previous reviews I've mentioned hardcore punk's foundations and staples. All of
these are thrown to the side with the start of the first track, Victim Culture. The song starts with
female vocals. There's not over-whelming feedback or shouts... It's strange. It's
new. But it's not long before the band starts up and does what they do best. This
song is fast and angry, and straight away, if you missed out on their EP, the
differences between former and current vocalists are obvious. With gang vocals
making the song sound huge, a signature Gallows solo acts as the cherry on top
of this cake.
Last June, a download-only single, has the sound of Gallows written all over
it. But one thing I have noticed, apart from the obvious difference in vocals,
is that this album seems a lot less 'riffy', and a lot more angry and loud. In
my opinion though, it's the bass that makes this song. It's not often you read
that, but it's the dirty overdriven bass that makes me think that if
instruments had emotions, this bass would be full of hate. And it helps the
music work so well with MacNeil's aggressive vocals.
The new single, Outsider Art,
is next in the tracklist. MacNeil kicks this one off and there's a huge change.
The vocals are a lot less rough and reminds me a lot of The Clash. It's in this
song that you hear the main difference between Wade MacNeil and Frank Carter.
Although both sound aggressive, like most hardcore vocals, MacNeil's have
melody. It almost sounds like he could begin singing at any moment. Luckily he
doesn't and sticks to shouting like a madman. Punk is at it's best when it's
shouted in your face.
Vapid Adolescent Blues sounds like it's been lifted straight out of 80s D.C. Scratch that.
The chorus, which is as catchy as a hardcore chorus can be, is a brilliant new
twist on a classic genre. This song doesn't sound like it's been lifted from
the past, it sounds like Gallows pulled a Marty McFly.
As I listen to the next couple of tracks, I feel like I've heard it all
before. It's fast, it's angry, it's punk. But I don't feel like there's much
keeping me here. Then Odessa begins
playing and it sounds like it could be an Alexisonfire song. This change is
refreshing and I'm right in the palm of Gallows' collective hand as the next
track begins.
Nations / Never Enough is the heaviest song of the album. It take's Gallows' sound and
makes it darker, heavier, and for lack of a better word, more mental. All I can
imagine is a surge of people on stage who are subsequently jumping off, and I long
to be one of those people. Wade's vocals lose all melody. It's pure chaos, and it's right up my
street.
After Cult Of Mary's
downright creepy ending involving a small child reciting lyrics about
crucifying Christ, Cross Of Lorraine
ends the album. I'm convinced that Wade MacNeil took this with him when he left
Alexisonfire. It's a strange ending to the album. It has an almost
overwhelmingly heavy ending, and it's anthemic, but it isn't as punky as the
rest of the album. This is in no way a bad thing. I love when artists and bands
try new things, and once I got over the change in direction in a matter of one
song, I saw how fitting this was.
I know I've written a lot about Wade MacNeil and Alexisonfire. And I
know Frank Carter got a mention in the very first line. But that shouldn't
overshadow Gallows as a band. This album is heavier, more aggressive and darker
than anything I've heard them release. Wade MacNeil's vocals are fuller and the
music is 'beefier'. This album has Gallows come out from the darkness with all
guns blazing. Gallows are back, and without a rapper in sight.
Gallows by Gallows is out on the 10th of September via Venn Records.
JL
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