Having parted ways with their former iconic frontman Frank Carter, Gallows’ 2012 self-titled album, the first featuring Alexisonfire guitarist Wade MacNeil, saw them make a defining statement of intent: Gallows are not, nor have ever been a one-trick pony.
On their ‘Desolation Sounds’ follow up, Gallows truly come into their own. Far more complex than the self-titled outing, the ten tracks display a finesse that has otherwise escaped the Watford based outfit. Potentially a result of parting ways with Steph Carter in-between records, ‘Desoluation Sounds’ is a little more forgiving than previous material, yet Gallows sound all the better for it.
Far removed from their pre-MacNeil days, ‘Desolation Sounds’ sees Gallows tackle different sounds. Opener ‘Mystic Death’ packs an immediate punch that long-standing fans will instantly identify with, while the title-track provides an altogether more subtle punch.
From here on in the record wavers between the two. ‘Leviathan Rot’ picks the pace back up exponentially, before ‘Chains’ delivers a genuinely eerie opening that explodes as MacNeil’s brilliantly gritty vocals come into play. Having originally showcased the track last year, ‘Chains’ provides an instant insight into the experimental atmospherics Gallows are now playing with.
The heavy hitting closing double ‘Cease To Exist’ and ‘Swan Song’ demonstrate the extremes Gallows are willing and able to achieve. The former is tense and wrought, providing a ballad-like opening before expanding into MacNeil’s most emotive delivery to date. Album closer ‘Swan Song’ on the contrary proves to be a cleverly considered four minutes of chugging chaos. As with the remainder of the album it is reserved compared to past material, yet immensely more powerful.
Those that argue that Gallows aren’t the same band they once were may be proven right, but with an album of such quality the argument is a waste of breath. On ‘Desolation Sounds’ Gallows have created a dense and energetic sound that wavers between high tempo force and intensely unsettling atmospherics. This is the sound of a band comfortable in their own skin, but who are hell-bent on making sure that you aren’t.
BEN TIPPLE