aaamusic | On 18, Dec 2011

When a band cites both Black Sabbath and George Orwell, I can’t help but feel like there is something good awaiting me. And Hate Gallery’s ‘Viva La Resistance’ is most definitely rather good.

 

The album’s title track is a seething metallic rock n roll monster that scrapes away at six minutes with a mass of raw vocals and riffing guitars that, when teamed with a tumultuous percussion backbone feels like a quality heavy metal cover of Nine Inch Nails, pouring out sweaty and righteous energy. ‘The Warning’ is another belter, with powerful lyrics and a guitar sound dredged from the fantasies of a distortion pedal fanatic, a constant and driving force. The synths get a bit awkward and the chorus superfluous “rawk” trimmings, but the pre-chorus and solo are so enjoyable, it’s hard to really fault it. ‘Security Forces (Dead Jimmy)’ feels like another nod to Nine Inch Nails, more of the ‘Broken’ era buzzsaw guitars and caustic vocal delivery than elsewhere’s ‘With Teeth’ moments, and the result is a big, toothy, powerhouse of a track that heaves with rock attitude. However, the slower sneer of ‘Rats’ then proceeds to beat it at its own game with rock swagger and punk anger in a way that’s more controlled yet possibly more intense, even pulling off some surprisingly aggressive handclaps.

Elsewhere, ‘Satellite’ straddles the borders of punk rock and heavy metal with slick prowess. The vocals here are snarled almost spoken-word style, and the instrumentation peeled back to hard rock and a chord progression like early Rancid meets Voodoo Six, with some definite Iommi moments in the solo.

Oddly enough, four tracks in we get the slow bluesy-grunge number ‘The Becoming’, which recalls Stone Temple Pilots’ ‘Big Empty’ more than anything else, with a bleak and sparse verse flowing into a heartfelt rock-ballad chorus that unfortunately fizzles out towards the end. The thrashing and chugging of ‘Frequency’ also feel a little weak in places, but overall, it’s a solid and powerful number.

‘Domination Soul’ takes more NIN, and blends it with metal to create a heated track, with unusual and well-executed melodies and a compelling dark determination that creates a mood that touches upon a live gig on record.

Weirdly enough, ‘Love Shine On’ feels like a different band, not quite the STP of ‘The Becoming’, but it approaches Trent Reznor singing over Jane’s Addiction in verses, with a ballad chorus that lurches clumsily, despite the band’s continued display of musicianship elsewhere.

Closing off, ‘Salvation’ has a lush yet raw grandeur that recalls flickers of New Model Army’s lyrics and melodies via Black Sabbath’s heavy guitars, and although that sounds like a bewildering prospect, I’m not sure how else to describe it.

 

‘Viva La Resistance’ may not hit the top drawer of quality, let down by a lack of coherence, but in and as of themselves the songs have a hell of a lot going for them, and it’s rewarding to hear a band with both musical ability and lyrical outspokenness.

 

Katie H-Halinski