The Gutter Demons – Unfinished Business

For seven long years Montreal psychobilly kings The Gutter Demons rested in their graves without any signs of life. After releasing the career defining highlight Misery, Madness and Murder Lullabies in 2008, the trio mysteriously hung up their guitars and disbanded for what we now know was a hiatus, but at the time were led to believe was the final chapter.  And then a rumbling began from beneath.  Cracks formed in the stagnant soil and the exhumed bodies of Johnny Toxic, Flipper and R-1 sprung to life nearly seven years later.  To much delight and fanfare, the Demons are back with a vengeance in their aptly titled fourth studio album, Unfinished Business, the latest from a band that just wouldn’t stay down.

With fitting intent, “Digging Up” opens with the twangy guitar and the weighted thud of a shovel excavating the soil of a stagnant grave.  Moments later “Hellride” re-acquaints listeners with Johnny Toxic’s trademark throaty bellow and Flipper’s unmistakably rich upright bass.  With lyrics penned deep enough to craft a metaphoric multiple meaning, The Gutter Demons usher in the image of the freshly exhumed Demons rolling down the asphalt, returning to a burning urban wasteland as creatures of the night out on a mid-day prowl.  The “werewolves on wheels” reference could easily double as a reference to the band’s nightly transformation on stage into a howling psychobilly spectacle, just as much as the apocalyptic setting serves as a reflection of modern society’s decline into sin and vice.  The raucous pace and hard thumping blows of “Invaders” make for similar imagery of a society crumbling into a chaos as hellspawn and maggots overtake the city from within.  

Unfinished Business is a particularly “hard” hitting Gutter Demons record, aligning most closely with the brutal guitars and throaty growls of the serial-killer-on-the-loose drama of Room 209.  Even the boot stomping tempos of slower songs like “Gutter Kings” feel beastly in approach with thick, distorted, bone crunching distortion.  Likewise, the shadow of dark psychobilly musings towers over the vintage beats of the faintly recognizable 50’s style influence buried at the core of rough n’ tuff tunes like “Bloodfeast,” “Phantom Creep” and “Tornado.”  Generally Unfinished Business starts and ends on a raw note, with a few crisp leaning selections sparingly rationed in the middle.

When the band reaches for the clean polished notes and hip swaggering tempo and guitar resonance of “Pisces” and “Gemini,” be prepared for chills down your spine.  These are the moments in which Flipper’s upright bass takes centre stage; each slapping thump defining the rhythm in a way that so many psychobilly acts strive for but so few so elegantly master.  While the tracks aren’t as direct as some past crowd pleasers like “Playground Horror Peepshow,” they feel refreshingly light in the context of Unfinished Business’ dark mandate.   

Much has transpired in the Canadian psychobilly scene since 2008.  Raygun Cowboys ended up proving that Albertan cowpunk can make for darn good psychobilly, The Brains released five records, The Creepshow underwent two changes in vocalists, Hellbound Hepcats launched their career, and Flipper even tried his hand in The Hypnophonics and Matchless.  The very scene that The Gutter Demons helped establish last decade has taken off in full force – but the Demons’ absence made it all feel slightly bittersweet.  Now with the kings of Canadian psychobilly back in the saddle ready to unleash ten new tracks upon the world, the stage is set for a wild ride.  Unfinished Business marks a masterful homecoming and resurrection as only The Gutter Demons could achieve.  Welcome home boys, the flames are hotter than ever.