Pure brutality from Leeds finest Punk outfit leaves you for dead, but you’ll still want more
Britain’s Punk scene has been, somewhat scarce in recent years, with Scandinavian countries taking the lead in being the most noticed, primarily for Holograms and Iceage in Sweden and Denmark respectively. However with Eagulls’ debut, we could soon see more British Punk bands making reviewers crazy, with Scottish Punk rockers Baby Strange, also claiming the spotlight.
Now to compare this album to either Holograms self titled debut, or Iceage’s with New Brigade, would be somewhat unfair. Even though they all revolve around the Punk genre; each band has their own niche production. Whilst Holograms is Joy Division-esq, and Iceage is almost more thrash Punk in places; Eagulls style is adapted from come classic Indie Rock backgrounds, as well as obvious Punk Rock. Eagulls’ approach to Punk is one that comes across as conventional, yet is adapted so that most of the albums’ track could have daytime airplay.
Eagulls incorporate the charm of Indie Rock in their simplistic choruses on most tracks, such as Yellow Eyes with:
Can’t see it, can’t feel it, can’t hear it!
Whilst Yellow Eyes is one of the album’s more thrusting, violent tracks, with gratuitous, sing-able choruses; Possessed claims the crown on Eagulls’ debut for the closest link to a Pop song, with festival friendly, whirling guitars and Indie-Pit rhythms. They’ve realised that you don’t have to sing sweetly to make a Pop track, but neither do you have to yell above frighteningly hollow basses to make a Punk track. Then fusing these simplistic, ear friendly, and catchy lines, with deep, gripping, aggressive basses and chaotic guitar hooks, to produce progressive, destruction and anger on each track that’s oddly accessible.
Eagull’s last two releases; Nerve Endings and the double A side, Tough Luck/Opaque all feature through the album, piecing each section together like the missing pieces of a jigsaw puzzle. The tracks are the familiarity for newer fans to instantly give the album some form of gratification without really listening to the rest. If you ignore the singles, the album as a whole becomes so much more powerful, grittier, murkier, more desolate than the Indie choruses of “That excuse is transparent the truth’s opaque” minus the aggression and raw-edged blade that is Nerve Endings.
On the ticking fuse that is the penultimate ending to Eagulls, Opaque causes major interference with listeners as the closing track Soulless Youth, summons up hysteric guitars, screaming in and out of your ears as the apocalyptic basses join in this masquerade of Punk dystopia, as the chorus welcomes emotionally loss lines of “I never, I never, I never feel fine”. Soulless Youth sways in and out of harsh, depressing dystopia to end of the world tornadoes of intense, frustrated vocals and murderous instrumentation, before climaxing with fading guitars, as you beg them to keep playing more and more.
Eagulls’ self titled debut, brings up connotations that the world we live in, is actually a diabolical mess. The band themselves have lost all faith within their own being as their saviours, carriers of their own lives, and instead decided to produce a fist raising, wolf howling, blood curdling scream worthy Punk album in a time of provocative dancing to sell records, and smoking on stage for shock value, when all you really need is a lot of pent up aggression.