Gnarwolves – Self Titled

UK punk act Gnarwolves might just be one of the most important up and coming punk acts at this moment.  Before you double over and laugh that assertion off as just the ramblings of just another rave review for a new record approaching its street date, consider a few vital points of context.  

First, weigh in that the young overseas trio has signed on with up and coming trend setters Pure Noise Records, a label typically reflecting modern preferences (I Call Fives, A Loss For Words, State Camps) with a rabid fanbase (much like Rise Records’ early years).  Then extrapolate that Gnarwolves must be targeting that essential 17-21 demographic through this label association and listen to how appealing their core elements would also strongly appeal to those that grew up on Black Flag and Circle Jerks through The Bouncing Souls, Hot Water Music and The Matches.  Combine that with the underlying ability and quality defining their self titled full length debut and you have a surefire formula to make a big splash not only in their little pond, but the surrounding lakes and coastlines.

Across the entire debut, Gnarwolves maintain the rabid intensity that comes with playing cross-generational party punk.  The vigorous clashing of drums that rip open “Prove It” sustain the track through the loose quickening tempo of an early refrain before erupting into a shockingly catchy chorus that expertly morphs into something of a jarring hardcore breakdown that never loses its initial rhythm.  The sky’s the limit for these roughneck party punks – more can transpire in a single song than many bands pull off across a single disc.  Take follow-up “Boneyard’s” shear vocal capacity.  Thom and Charlie move the track from an emotionally charming clean-vocal intro (think Transit) to a throaty bombardment of poppy playful barking reminiscent of Grabass Charlestones or an edgier iteration of The Menzingers.  At the same time, the band never hesitates to dig deep for some serious bellows sure to turn the heads of the Rise Records hardcore faithful.  Amidst the hysteria the band seamless weaves in punchy chords and sharp riffs that do much more than provide an exciting backdrop.  Songs like “Everything You’ve Ever Known,” “Day Man,” “Flow” and especially “Eat Dynamite Kid” all stick to their guns, offering a consensus of zealous harmonies and vigorous rolling drums.

But even with their party personas, Gnarwolves showcases intelligent musicianship.  Take “Bottle To Bottle” which slowly bleeds in with nearly thirty seconds of vulnerable, wiry vocals and singular plucking circa Citizen and Brand New.  The stylistic conversion surfaces sparingly like in the twilight of songs like “Hate Me” and at other targeted offshoots.  Other songs like “Ebb” experiment with slow, weighted tempos; offering a slow burner of a track and moment of recovery.  Mirror these contemplative moments with instances of profoundly insightful statements Gnarwolves become the total package.  “We are the product of a broken class… I am the product of my father’s burden, it wasn’t promised to me, it wasn’t promised to me,” bemoans the band of their circumstance, defying their lineage in a combative chorus of gang vocals.  In moments like this, Gnarwolves become so much more than just a bunch of boozers playing to a drunken, sweaty mess.

For such a youthful band, Gnarwolves drum up an intrepid bag of tricks.  As if to drive their breadth home, the album leaves listeners with a hidden hardcore bonus.  Surfacing thirty seconds after the final identified song, the track’s chugging 80’s hardcore riffs and boisterous New York scene style barking hint at some of the many influences shaping the U.K. trio’s uncompromising form.

When taken as a whole, Gnarwolves self titled full length feels like a party but doubles as a career defining statement.  The trio offers up ten (actually eleven) accessible tunes suitable for punk fans of all ages without ever catering to a lowest common denominator.  It’s the type of fresh and relevant output that Epitaph Records keeps trying to get in on with The Menzingers and Off With Their Heads, but this time around Pure Noise Records beat them to it.  Unquestionably one of the year’s best punk records.  Don’t miss it.