Gurriers are an up-and-coming Dublin band, shaping the sounds of Irish post-punk music. Their first album ‘Come and See’ premiered initially on BBC Radio 6 Music and, along with their supporting gigs for Inhaler, rapidly saw their popularity grow. This new album is therefore highly anticipated by fans and is recorded under the label ‘Play it again Sam.’ To add even more prestige, the album was recorded in both Co. Donegal and London, with Mark Bowen of IDLES and Loren Humphrey producing this incredible piece. Gurriers have now played a colossal number of festivals following their Crystal Palace date supporting KNEECAP. Additionally, to follow up this album, extensive dates in the UK and Europe will see this band blow the minds of yet more crowds.
The title track of the album ‘Nobody’s Coming to Save You’ features teasing guitar parts with a final release in the chorus. The charm of the Dublin accent and the repetition of the chorus, aided by the strong chords driving the melody, particularly toward the end of the song, leaves the listener blind to their next musical feat. Similar to their single ‘Erasure’, ‘Party Lines’ bass, as well as Dan’s strong vocals, give the impression that Gurriers have found their own inconceivable, unique sound and continue to flourish as musicians.
The album perfectly curates a mix of droning guitar parts with compelling vocals, building the anticipatory tone of the album, leaving you wanting more. Against all odds, it strikes the perfect balance between being tailored to each listener while staying true to themselves as musicians. Which, clearly, in itself is an indicator of a phenomenal band.
These instrumental masterpieces are particularly seen on ‘Pins’ and ‘Nothing Happens Twice’, which drive the album with punchy drums, didactic lyrics, and a personal feel intertwining the listener with both the music and their own experiences. The newer, more experimental form of vocals could only be the cherry on top. This in particular is seen in the slower track ‘I Wish I Was’, where Dan proves his place with his lesser-heard, softer vocals. The droning guitar yet again drags the listener into the song, building anguish, in line with the emotions felt when writing the tune.
A cinematic feel can be heard on the two tracks ‘Drones’ and ‘Today is Not Enough.’ These two songs in particular feel as though they would be perfect inside a movie score, which for me is a signal of a ridiculously impressive band. The way that the musicians’ creativity molds together so perfectly feels almost impossible. Yet they have achieved this and succeeded in creating a song (‘Drones’) that feels like a microcosm for the whole album; anticipatory and yet leaving the listener begging for more.
