The meaning of the word galore invariably means ‘in abundance’, whether that be consuming in excess or experiencing much in life; whether it be love or pain that it changes you indefinitely. Taking these moments, learning from them and imparting knowledge onto the next generation, specifically his offspring, is what vocalist Damien Sayell is here to achieve. And with the help of his brothers in arms they deliver this in spades through a new post-electronicore (let’s try and call it that for now) lens. From the influences to the delivery in sonics to its lyricism, this record is markedly different album from its forerunners.
Cemented in the UK underground scene with their roots sprouting from the stylings of the likes of Every Time I Die and The Chariot, these Bristolians are not ones to rest on their laurels and stick to one formula. Pushing away from these familiar sounds, Galore has looked towards the realms of electronic dance-punk stylings inspired by Soulwax and others. But before even a single note plays the clues to this are in the artwork which could pull from the Belgian legends’ Nite Versions album, wrapped in a bright pink and hypnotising design.
Opening track ‘Kracked Velvet’ (a nod to ‘Krack’ off said Nite Versions perhaps?) propels you into this new era of St Pierre’s sound delivered with their ever-distinct intensity. Heavy inclusion of electronic elements and haywire guitar tones in a Meshuggah-esque style that continue throughout the record it feels like an elastic band ready to ping you off the ‘precipice’ mentioned within the lyrics. Drummer Pete Reisner who joined the ranks in 2021 quickly shows why he was chosen as an apt replacement for his predecessor, hammering through brick walls with his sledgehammer strikes on the kit. Damien’s raw, visceral delivery of the line ‘take a knife to it’ shows this is time to destroy what has come before and push their boundaries personally and musically.
Glockenspiel, wood blocks, piano on a St. Pierre song? Second track ‘Midas’ presents this fresh approach completely. This the bravest leap from what you thought you knew about this band, and what quickly makes this a more intriguing yet satisfying listen than most is it’s variety – it’s the spice of life after all. It’s got an almost arrogant hip swagger to it but somehow still familiar to what those familiar with St Pierre love. Upgrades to their sound and maybe their bodies too filter into the lead single ‘Submechano’. Robotic sounds emanate from the guitars of Patrick Daly and Szack Notaro, the electronic infused hardcore really shining through their metallic extremities.
The title track does much the same in its harder components towards the end. But before reaching the crescendo, ‘Galore’ rumbles in its rhythm, chills down spines as the track slowly builds with layer upon layer. Guest vocalist Aisling Whiting (Sang Froid) adds her almost haunting vocal style before the final burst of energy as Damien belts out the most ungodly scream backed with a frenetic pace of the band. Her addition to ‘Apex Prey’ is another delight to the record adding more diversity to an already weird and utterly wonderful record.
‘To Sleep Well’ sonically and lyrically marry up perfectly. Musically feeling like a weighted blanket at points, comforting yet restrictive as Damien sings of his wife’s ask for him to grow in an almost soothing tone before the song breaks into almost chaos backed with the ever-brutal vocal cords of Sugar Horse’s Ashley Tubb, another brilliant addition. ‘It’s quite alright to compromise’ Damien recalls, this is anything but a compromise. This is heart on sleeve passion and inventiveness that most will look upon with jealousy.
‘Every Sun’ just feels dirty from Sanjay Patel’s bass tone to the added vocal effects. The second half is a disparate mind fuck as timings feel off, guitars out of tune, it’s all off kilter yet somehow, right? Something this record does so well is suck you in. Single ‘The Overlook’ does similar with a flow that is almost hypnotic.
Penultimate track ‘That There’s Fighting Talk’ – the most electronic led track – smacks one around with a punching drum beat and references to violence and physical confrontation, a lyrical theme that Damien tries to distance himself with across the song. Maybe the most ‘out there’ track on Galore, it’s angular noises that makes the left foot dance but the right foot kick over your neighbour’s bin. This is probably the best example of what ‘electronicore’ sounds like if one were to even try to attempt to pigeonhole this record. Finishing up with slightly more familiar St. Pierre territory with closer ‘I Pray To Liars’, the track is filled with huge head banging riffs and some insane stick work by Pete cumulating in colossal ending.
Galore is an album with a belly full of depth, surprises, meaning and a heaviness that is their most complete and accomplished work to date. St Pierre are a band that has never had it easy over the years – with multiple members passing through the ranks – and they may once have had a plan to finish after three albums. However, it appears they have come out the other side rejuvenated and more creative than ever. This will be a third chapter, hopefully of many more to come, that will need to be seen live on the road this year in order to fully understand it’s inherent and creative brilliance.