Eagulls at Islington Mill review

Image: Eagulls 

When Eagulls last appeared in Manchester they drew rapid gun-fire with acerbic and anxious waves of gritty post-punk. One year later, the Leeds based band have completed their second ULLAGES and honed an alternative approach to their operation.  

In February they released the first track from their new record titled 'Lemontrees', a song that still drew on the vocal hook of lead singer George Mitchell, but instead revelled in slower shimmering sonics to hark traces of the new wave era. 

After drip feeding another two songs, it was apparent that Eagulls had realigned their focus to achieve something completely new - a rather daring approach when considering the roaring success of their soul-exploring debut. 

In the run up to the release of Ullages, the five-piece opted to avert the usual tour stops and embark on a run of Ginnels, Alleys, Jitties and Snickets, landing them at Salford's Islington Mill in opposition to neighbouring Manchester. 

The low-ceilings hoisted by steel pillars in the Mill's basement space enhanced the DIY authenticity that Eagulls bring.

George Mitchell, the band's alluring front man still managed to assert that feel of a cult frontman in the making - leaning into the mic with a trademark one arm arched behind his back above the bobbing silhouettes of the crowd.

The band's thought-provoking aura was enhanced by black and white visuals that aired clips of what appeared to be works of Alfred Hitchcock.

A relatively low-key and exclusive tour appeared to make perfect sense for the band. With the album yet to be released and only a handful of shows played on the tour, each juncture between songs meant a pause to alter the levels. 

What did become apparent from the contrast between old and new was a balance to their live show.

Opener 'Lemontrees' and a mid-set block of new material sandwiched a three-pronged attack of their known visceral mechanisms. The contrast drew feelings of euphoria amongst the relative bleakness we first experienced from the band.     

Flickerings of hedonism sprung by swirling reverb-drenched analogue riffs is the nucleus to their new holdings; it's a fitting evolution that adds depth to a live show which already achieved peak anarchy through well-received tracks like 'Possessed' - a song which was more dazed than usual during this performance. 

Undoubtedly the sonic readjustment for the band was natural to their creative intentions, but they'll have calculated it as a risk. 

They've plunged for a sound that's not over-saturated in the underground right now and averted coming across as 'samey' by showing a new textural hand.

It was already apparent that the band have drafted a fanbase from different corners of the spectrum, and with the forthcoming release looming their appeal can only grow stronger.   

Read our interview with Eagulls "How post can post-punk get, now it's 2016?"

Eagulls play at Hare and hounds in Birmingham on Tuesday 17th May - tickets via the box below.