Gallows
Grey Britain

"Grey Britain is burning down
we'll be buried alive, before we drown
the queen is dead, so is the crown
the shallow grave, fit for the ground
stick your coffins in the riverbed
where all our sins are laid to rest
set alight to the flag we used to fly
god help us now, we are ready... to die" - "The Riverbank"

The sound of a river - the Thames -, a gloomy melody, Frank Carter's desperate scream: "Grey Britain" has begun. Rarely do I find an album that involves you to the point it feels like you're there; this is one of them. "Grey Britain" is one of the best examples of how to make a Hardcore Punk concept album in the new millennium, which, unfortunately, I only managed to listen to a few months ago, because Gallows today, having changed the singer after this album, have changed their sound considerably, in my opinion, now much less personal. It is no coincidence, in fact, that this concept album is considered by fans as the best of the English group, who have produced an ambitious and, to say the least, dramatic album. What strikes most about this album, in fact, is the sense of despair and drama; we find ourselves in a dystopian London in crisis and dominated by chaos. 

The opener "The Riverbank" expresses desperation better than any other and slowly guides us on our journey through this decayed London. Frank Carter's shouted vocals are among the most dramatic I have ever heard; restless and passionate, it makes the album's sound unique.
The following songs, including standout tracks like "London Is the Reason," "Leeches," "I Dread the Night," and the beautiful "Death Voices," are characterized by incredible violence, as if wanting to show us the glimpses of London, where a revolution is also brewing, a glimmer of hope that doesn't fade against the oppressive power... then, the break.  "The Vulture," divided into two acts, concludes the first part of the album in a divine way, with a melodic first part played on classical guitar, followed by overwhelming uncontrollable rage, the revolution has begun. With "The Riverbed," not coincidentally similar even in title to "The Riverbank," it feels like a new album begins, more violent and, one might say, positive, but it's just an illusion. With "Misery," melancholy returns, this time in greater dimensions; this song is my favorite of the entire album, strong, melancholic, and destructive, paired with "Crucifucks," a violent track that perfectly concludes the album with a touching piano ending and Frank Carter's desperate scream announcing hopelessly that the situation in London hasn't changed, the solution is to end it all, there is no way out of Grey Britain.

"Grey Britain is fucking dead,
so cut our throats, end our lives, let's fucking start again."

After the album ended, I was left speechless; I never would have expected such an album from such a young band. Their project was so ambitious that it could have been made into a film, which is why if you search for the "Grey Britain" videos, you'll find that the singles, if put together, compose a musical film of about 40 minutes with its own plot and characters.

I don't know when I'll find an album like this again, and it's a shame that a vocalist and composer of Frank Carter's caliber has left the group; I'll hardly forget his shouted vocals. What matters, though, is that albums like this still exist, capable of conveying emotions, because first and foremost, that is what music is about. Therefore, I can't help but highly recommend it and let yourself be captivated by this little Punk masterpiece, setting aside your prejudices for once and just appreciating the music and atmosphere. Bon voyage.