The shores of Ireland have become well adjusted to the unrelenting noise of the post-punk revival it has harboured. The list is extensive and well-known by now; Fontaines D.C, Sprints and Kneecap are amongst the forerunners showing the world that Ireland is not just creatively imposing but also culturally relevant. It’s become a pool of artists that may seem intimidating to crack into and add to the racket. Unless you happen to be a band named after forgotten Dublin slang meaning a rough and rowdy bunch.
When it comes to Gurriers, the sound of their tunes matches the brand. Breakaway first single ‘Top Of The Bill’ (which has since had an excellent re-recording) manages to show a band with a diverse sonic palette, showcasing lush guitar leads accompanied by Dan Hoff on vocals, a singer who does an excellent job of providing the gutsy punch necessary for the sound of their genre. It was an excellent indicator of what the band were capable of, and a promise of what they could become.
Their debut album, ‘Come And See’, which shares the name of the 1985 Soviet anti-war film, promises to replicate a similar intention of display. Where polarisation and chaos is common at your fingertips, it can be easy to switch off. Gurriers invite you to refrain from doing so in their songwriting, often delving into topics such as youth culture, political disarray and societal frustration. Don’t hide from the noise, embrace it.
Album opener ‘Nausea’ would probably require a deep breath before listening but it doesn’t even give you a chance, throwing you into the thick of a cluster of screaming guitar leads, with Hoff ragingly shouting his lyrics across the mix. If not familiar with the band, it’s a wake-up call for what you’re in for – and an excellent one at that. The punky rhythms don’t threaten to come to a halt with the follow-ups either, with ‘Des Goblin’ possessing a mean guitar riff and a groove and beat that resembles something their pals from up north, Kneecap, would knock up. If anything, it shows a range to their sound. It’s in your face, but it’s methodical and clearly hand-crafted by artists who know what they’re doing.
Further on, ‘Prayers’ commentary of organised religion is bold in its imagery, “Now the pope says his prayers to the room of empty chairs”, and ‘Close Call’ has guitar leads which sound similar to the blaring sirens heard on Dogrel’s ‘Too Real’, providing just as much mayhem as its influence managed. By now, you may want a breather from the 100m sprint line depending on your measure of pace, but hopes of that may be far-fetched. Even the slowest moment of the album, coming in the form of an interlude, is enough to put you on edge – an ambient track that drones in your ear menacingly.
The penultimate track ‘Approachable’ is arguably the strongest on the record, with Hoff writing from the perspective of an angry, far-right man, a demographic that was small at the time of writing but has threatened to rear its ugly head in the time since. While it sounds increasingly like an IDLES song, it never threatens to be an imitation, and its chorus of Hoff sardonically singing, “I was born in the wrong era!” will be the most enjoyable to sing along live to.
With multiple listens, it becomes clear that Gurriers know the best way to be heard from the bottom is to scream your way to the top. With ‘Come And See’, they’ve given themselves a fighting chance to compete with the heaviest hitters of their genre.
Words by Niall McGreevy