Review Summary: "Gallows" does not skip a beat.1 of 2 thought this review was well written
"In us we trust!" Gallows gang-shouts on the first track of their self-titled album. This is the battle cry of a band collectively spitting in the face of adversity. Upon the departure of their charismatic and beloved front man Frank Carter in late 2011 and the acquisition of ex-Alexisonfire guitarist/vocalist Wade MacNeil, there's been much concern and doubt as to whether Gallows is still...well, Gallows. With only a very brief teaser of an EP to go by, nobody’s opinion of the “new” Gallows would fully solidify until there was a more substantial amount of content by which to judge them.
Now that the new record is finally here, it is pretty safe to say that the opinionated, ever-pissed-off and confident Gallows of old remains in tact and more focused than ever before. Each and every song has enough variety to distinguish itself from the other ten on the record while being aware enough not to outstay it's welcome. This results in some seriously aggressive, to-the-point songs and avoiding filler material altogether.
The standout tracks on "Gallows" do have something in common, however. They each have a powerful moment amidst the per-usual catchy assault of anger that instills a unique feeling while listening. The quasi-preachy intro to lead single "Outsider Art", the absolutely haunting English infant voice chanting "crucify Christ" amongst other things on "Cult of Mary" and the crushing breakdown at the end of "Nations/Never Enough" are the most pertinent examples of that on the record. These moments allow “Gallows” to briefly transcend the boundaries of an ordinary punk record experience.
And so the verdict is in: Gallows is more cohesive and focused than ever, with a sense of ambition and optimism towards the future of their career with Mr. MacNeil. The self titled record does more than uphold the standards of a Gallows album, it surpasses them. In Gallows We Trust.