REVIEW: Gallus - Life is Bliss
Punk is, and always will be, the erratic, chaotic branch of rock music. It is where opinions are formed, songs have meaning, and angst takes centre stage. It is also a genre that is frequently fused and meddled with to create different dynamics. In the eyes of GALLUS, however, Life Is Bliss is a reminder that punk can remain unapologetically itself.
Hailing from Glasgow, Scotland, GALLUS embody everything that makes punk so compelling. They possess relentless energy and tackle difficult subjects in a way that communicates not only the message but the emotion behind it. Their successful debut album in 2023, We Don’t Like The People We've Become, catapulted them into the music scene, leading to support slots with Scottish rock giants BIFFY CLYRO. Now, they are preparing to embark on their biggest UK tour yet.
Opening the album is Au Contraire, which arrives in typical punk fashion: as a battle-cry anthem. Rock-steady drums, combined with shrieking vocals delivered in unison, send goosebumps down the back of the neck. Despite its aggression, the track retains a sense of melody and swagger. It is a fantastic introduction and an effective pace-setter for the album. Better Than Nothing opens with a distorted introduction before a gritty Scottish vocal performance is accompanied by a rough, raw bassline. The combination gives the track a snarling quality, but it never quite develops the edge it seems to promise. Something feels missing. The raspy vocals are undoubtedly its strongest feature, providing the character that prevents the song from becoming forgettable.
MK Des (Miss Out) is where GALLUS step up a gear. The track is built on a number of impressive foundations, with production that deserves particular recognition. The album was produced by Blair Crichton of DEAD PONY, and the use of breaks, additional sounds, and spoken-word passages is particularly effective. The lyrics are well written and passionately delivered. The song reflects on a changing Glasgow, a subject that will resonate not only with locals but with anyone who has mourned the transformation of their city or hometown. A saxophone is incorporated into the arrangement. It may not be the most conventional punk addition, but it is distinctly GALLUS, and it works wonderfully. Next comes ALERT ALERT, a track that carries unmistakable MILBURN energy. It is arguably the album’s first true indie-rock moment, combining a catchy chorus with an energetic, effortlessly shifting production style. The track moves between scales and octaves with an ease that gives it a distinctive character. There are clear pop and indie influences, but GALLUS retain their punk identity through the unison vocals and increasingly desperate cries towards the end. It is a change of pace that works exceptionally well.
Stupid Dog is arguably the strongest track on the album. It showcases not only the band’s considerable musical talent but also the humour that runs throughout their style and helps explain the loyalty of their fan base. The song opens with what appears to be a prank call and ultimately returns to the same audio, providing a quirky and memorable framework. The chorus is melodically and chaotically brilliant. The guitar work from Eamon Ewins and Gianluca Bernacchi complements the deep vocals of Barry Dolan, creating a beautifully balanced combination of musicianship, humour, and controlled chaos. Do For You is tasked with maintaining the album’s momentum, and it does precisely that. A face-curling guitar riff echoes throughout the track, creating something aggressively beautiful. The guitar work is exceptional. The way the riffs are played gives the song a distinct identity, and the musicianship on display is genuinely impressive. It is one of the album’s most convincing examples of GALLUS’s ability to make aggression sound refined without losing its rawness.
Sick Bastards is a funky, punky track that, on paper, sounds like it should be a terrible combination. In practice, it works surprisingly well. The guitar has an unusual quality, with echoes of LYNYRD SKYNYRD in the way the chords flow up and down like those of an early classic rock song. Then the vocals arrive, dragging the track back towards punk’s familiar angst. DJ scratches overlay the guitar, constantly shifting the tone and mood. It is a creative choice that pays off. The track feels tailor-made for the live environment and could become a mainstay of GALLUS’s festival and gig performances. Just A Man initially slows the pace, although only for a matter of seconds before the band returns to full intensity. Dolan’s vocals sit front and centre throughout, delivered with such emotion and force that it feels as though a wall of energy is being blasted through the speakers. It is a solid track in its own right, although it does not quite reach the same heights as some of the album’s standout moments.
Donnie Murdo opens with what sounds and feels like SEX PISTOLS energy. The track, from which the album’s title is taken, sees Dolan deliver his vocals with the distinctive aggression associated with punk’s predecessors. It is a mosh-ready song, and the challenge of matching GALLUS’s energy is a difficult one for any crowd. The track is raw, direct, and unapologetic, making it an obvious candidate for a particularly chaotic moment in the band’s live set.
For a punk album, Something There is about as close to a slow track as GALLUS get. It carries an indie-pop sensibility, with hints of the style associated with FONTAINES D.C. The change in mood provides a refreshing break from the album’s relentless intensity. For listeners seeking constant punk-rock aggression, however, the skip button may be required. It is a good song nevertheless, and whether it works will ultimately come down to personal taste.
Jesus Wept is the penultimate track, and once again, it is the guitar work that immediately grabs attention. The riffs prick the ears, get the heart beating, and encourage the toe-tapping that has become a recurring feature of the album. The production is particularly effective, with the guitars almost acting as backing vocals during the chorus before the melody takes over. It is another example of GALLUS using their instrumentation to add depth to their sound without compromising their identity. M8 closes the album with a subdued sound compared with what came before. The bass rolls in alongside the vocals, but the track initially lacks the impact and urgency that have defined much of the record. Even the guitars seem weighed down by the slower pace. Not every track needs to be played at 100 miles per hour, but M8 feels as though it could have benefited from greater intensity. The absence of scream vocals or the raw angst heard elsewhere on the album is particularly noticeable, and the song does not immediately stand out musically.
So why does it work?
The answer arrives in the form of a heartfelt monologue at the end, offering a moment of reflection. It may not possess the fundamentals of a punk classic, but it communicates something deeply human. It is a reflection on the band’s city and an expression of how they process the changes around them. The track’s emotional weight ultimately gives it purpose, even if its musical execution is less convincing than that of the album’s highlights. GALLUS are turning heads and putting fire in people’s bellies. Whether it is through their commitment to punk’s roots, the messages they convey, or their authentic, raw, and often hilarious approach, the Glasgow band have developed a sound that is distinctly their own.
Life Is Bliss is a fantastic record that builds on the foundations of their debut album. It is energetic, inventive, emotionally charged, and unafraid to experiment. Not every track hits the mark, and some of the quieter moments lack the impact of the band’s more aggressive material. Nevertheless, the album demonstrates a band growing in confidence and ambition. GALLUS are not simply revisiting punk’s roots; they are making the genre their own. If Life Is Bliss is an indication of what lies ahead, the band’s biggest successes may still be to come.
Score: 9/10
Life Is Bliss will be released on 25th September via Marshall Records.
Words: David Waites
Photos: Brian Sweeney
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