IN REVIEW: Frank Carter & the Rattlesnakes - "Blossom"

For a little while in the latter part of the last decade, Gallows were arguably the world's most dangerous band. From 2006 to 2011, with a pair of incendiary records and a string of volatile live performances, they cemented somewhat of a legacy in their native England. Much of this volatility could be attributed to Frank Carter, whose aggressive and destructive performances felt equal parts effortlessly fascinating and genuinely terrifying. So, when he left the band in 2011 and set out to take his music in a different direction, no one could have predicted it would culminate in Pure Love. Their first (and only) album, Anthems, found Carter going for more of a straightforward rock sound, with touches of positivism on the lyric sheet. It wasn't a bad record (in fact, I thought it was one of 2013's best); still, when the group was dissolved even I had to admit that he never really, truly looked like he fit in with the sound. It was kind of like Kevin Smith doing a PG-13 rom-com; he did it, and it was okay, but he's unquestionably better with an edge.

So here we are, in 2015; Gallows is being fronted by former Alexisonfire member Wade McNeil and releasing some of their most accessible music, while Carter's new record is calling back to those explosive days in the late '00s. The main difference between 2009 and now for Carter seems to be his attitude; he isn't afraid to rage and spit (both of which literally do happen on Blossom), but there's more resolve on display. "Even on my own, you can't stop me!" is the battle cry of lead-off track Juggernaut, making Carter's intentions clear for the record.

Musically, Blossom packs much of the same post-hardcore wallop as the first two Gallows records, though it's not quite as unhinged; guitars are more elastic and versatile, while the rhythms carry a little more swagger. Mind you, fans of Grey Britain shouldn't turn their noses up at blistering tracks like Fangs, Loss and Rotten Blossom, but there's a good amount of variety on offer to spread some closed minds ever so slightly. Trouble is a more melodic cousin to London is the Reason, while Primary Explosive is a seething, sludgy rocker that gives you a choice between moshing and dancing.

Blossom's most impressive track is, for me, Paradise; a terrorist-baiting sonic smorgasbord, it rages and grooves until the aforementioned spitting; at that point, the song stops, slowly reboots and rebuilds its intensity from the ground up. It's a turn that strangely reminds me of Danzig, and I'm just a little surprised that this brought the track up that extra level for me.

I'd be remiss if I didn't mention I Hate You, the just-shy-of-incredible closing track. Using a bluesy dirge that masterfully builds as the song progresses, it's only held back by its lyrics. Angry to the point where it crosses the line from trite into just plain silly, it's a great song that's very difficult to take seriously (sample lyric: "I wanna hit you with the force of an asteroid from space"). Don't get me wrong, I wasn't expecting Yates, but I did expect better than what I got from this one.

All told, Blossom doesn't spend time worrying about whether or not you're enjoying yourself. It's a vessel for Carter's emotions and, as such, can be ugly and violent by times. Just the same, it usually takes a more adult approach to situations as compared to Orchestra of Wolves (especially) and Grey Britain. Its songs may not be as immediate as the ones he wrote with Pure Love, but they do feel more genuine. Most importantly, after a few spins, something about Blossom makes it feel like this is exactly the record we should be getting from Frank Carter at this stage in his career.

August 14, 2015 • International Death Cult

Highlights Juggernaut • Fangs • Paradise