Eagulls - Eagulls - Albums - Reviews - Soundblab

Eagulls - Eagulls

by Andy Brown Rating:7 Release Date:2014-03-03

Leeds’ punk types Eagulls have been garnering quite a lot of attention recently. Steve Lamacq has declared his love, the NME and the Guardian have given their seal of approval and the band has even performed on the Late Show with David Letterman in the States (on the same show as Bill Murray, no less). After a series of well-received singles and an EP produced by MJ of Hookworms, the band are finally ready to unleash their debut album and it’s fair to say there’s been a lot of anticipation around its release.

It’s not that what the band does is particularly new but it’s hard to argue with their no-punches pulled delivery. The album opens with the noise-drenched delights of former single ‘Nerve Endings’; an intense yet somehow euphoric blast of driving punk-rock. Vocalist George Mitchell yells over the band's rocket-paced delivery, there’s some barked call-and-response vocals and the track's four-minute duration seems to last seconds. The band covered Killing Joke classic ‘Requiem’ as a recent b-side and the driving fury of Jaz Coleman’s revered post-punks gives you half the picture.

The unfiltered production seems to bring out the best in the band's performance; the album manages to carry a similar intensity to a Joy Division live recording. But let’s not get carried away. The band is still in their early stages but as a debut album, Eagulls certainly delivers a whole heap of excitement and promise. Tracks like the incendiary ‘Tough Luck’ produce a sound somewhere between the classic post-punks of old and more contemporary offerings from the likes of Savages.

Eagulls aren’t exactly revivalists, yet the album remains littered with musical reference points (intentional or otherwise). The songs have a melodic power which gets under your skin after a few listens. The furious ‘Footsteps’ could almost be an early Cure track in the vein of ‘Primary’ (albeit with added noise).

The band carries a self-belief and vibrancy which makes what they have to offer a rather exciting prospect. The performances are all thrillingly alive and there’s a sense that the band are putting everything they have into each song. Tracks like the surprisingly anthemic ‘Possessed’ must sound fucking fantastic live too as Mitchell defiantly sings, “I don’t wanna know what you think”. Commitment, noise and melodic punch. What more could you want? 

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