Gullich are:
Graham Thompson (vocals and bass)
Simon Whelan (guitar and a bit of vocals)
Jamie Wilkinson (drums)
You may know or remember us from outfits like Alsatian, Jinn, Grimification, Ask My Cat, The New Lev Yashin, Kubichek!…to name a few. Over the last year we have tried hard to practice as much as possible, which is sometimes very tricky due to geographical, work and football issues. When our paths do cross, it’s a bit like Captain Planet…or The Power Rangers…but probably mostly like The Power Puff Girls.
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ALBUM REVIEWS:
By Milton Trebuchet
Three chaps from Billingham, Newcastle and Middlesborough make up Gullich (named I assume, after the hard core German rock climber who ironically died in a car crash). This self titled album tries some equally trick ascents through the worlds of Math Rock and Screamo, but with a refined edge and some lovely but energetic minor chords. As all this trigonometry is being executed there are jangles, fizzling small explosions and slap shot percussion hits, to add to the energised fray. It’s the stuff of jerky dancing and swaying, semi-progressive head nodding, which all adds up to something equally as stratospheric as good old Mr Wolfgang Gullich (RIP).
MMMM
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by Michelle Moore
9 / 13
There have been numerous new names bouncing about the music industry and Gullich was one of the more recent ones to land on my doorstep for review. Though forming just under twelve months ago, this North East trio has managed to bring themselves to a point where they are able to express just what they have hidden under their belts with this debut self titled mini album.
Through eight self recorded tracks, Gullich is able to create songs with an indie rock surface and a bonus pop side. The majority of the songs all contain the same components; a melodious exterior with upbeat bursts of guitars and bouncy guitar and bass riffs. One of the records most indulgent tunes is ‘Girl Scouts of Japan’. This melodious number is rounded and the way in which it uses instruments seems to be very in touch with each other. It is this quality that really keeps the song flowing freely and with harmony, as if acting as one and playing as one. The band has even managed to pull in label mate Evelyn Burke from Such Great Heights to play guest cello on their recent single ‘Dale Nixon’.
The vocals are typical of what to expect from this style of music, with the occasional shouts to be heard on tunes like ‘Always One In,’ which is one of the more enjoyable tunes on the album. There are also times of radiant harmonies. This is most notable on the track ‘Something You’ll Never See’ for its two toned harmonies with an underpinning of guitar.
Gullich is a band that has a lot of potential and I’m sure there are great things to follow this well crafted release.
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Rating: 3/5 by Phill May
Another interesting release from Pay For the Piano, the label set up by sadly now defunct Dartz! (sob) man, Henry Carden. This self-titled mini-album from North East trio, Gullich has a ramshackle appeal that actually sounds pretty damn good for something recorded at home.
Essentially a quality indie act in the vein of the aforementioned Dartz!, their sound is full of math-y influences and the odd hint of distorted aggression that has them sounding like a less hyper Dananananaykroyd at times. ‘Something You’ll Never See’s noodling guitars get irritating and Graham Thompson has far from the sweetest of singing voices, but cuts like ‘Girl Scouts Of Japan’ and ‘Always One In’ brim with potential. Promising, but it lacks enough variation from song to song to be truly essential.
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By: EDDIE THOMAS
5 / 5
The north of England has long been fertile ground for math rock. Back in the ‘90’s it was the Leeds 6 scene and the roster of the Darlington-based Subjugation Records which established the UK scenes as vibrant, healthy and creatively exciting, spawning the likes of Bob Tilton, Month Of Birthdays and Tribute at the same time. These days? Well, it’s from slightly further north that Gullich hail, but the premise is more or less the same.
Carrying on the tradition of those bands, but incorporating such influences from across the pond as Faraquet, Medications and Texas Is The Reason, the trio prove they have the talent and the vision to produce an album every bit as exciting as some of those on the aforementioned bands CDs. Keeping a melodic, tight vocal, they use time changes and jazz arrangements to control the dynamic of each song perfectly.
Where they might struggle is in the relative lack of similar bands to play with compared with 10 - 15 years ago; but if they keep at it and put out more records of as high quality as their debut, they will most probably inspire a few people to have a go at emulating them. Splendid stuff, keep it up!
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A trio from North East English with a debut self-titled eight track mini album of spiky mathy awkwardly angular indie rock They show a lot of ambitious promise, a little predictable right now and a little lacking in terms of texture and dimension – those guitars riffs and that voice stay at the same level and never vary in terms of scratchy texture from start to finish. Textures and mathy moves we’ve heard already and crying out to be taken somewhere just a little different… Hopeful start though, let’s see what evolves, worth sticking around to see where they take it, see if they can get a little more in there..
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www.noizemakesenemies.co.uk
Rating: 4/10
Gullich really isn’t one of the most attractive band names, it just sounds unpleasant, fortunately, the band’s name reflects their music, which is just as bad.
Instrumentally the album isn’t bad, not wonderful, just fairly standard rock fare, overdriven (if not slightly fizzy) guitars backed up by rhythmic drums and bass feature on every track, making the album somewhat samey, but not terrible, until their singer opens his mouth. Out of tune is an understatement, especially when it comes to vocal harmonies, at times the vocals induce ear holding and shuddering, causing actual physical discomfort.
Some of the tracks certainly are ambitious and even well performed, Girl Scouts of Japan revolves around a great tapping guitar lick backed by soft strings, and is by far the best track on the album, although that may be because it’s also the album’s only instrumental.
It’s quite clear that the album is a home recording, the sound quality could be better and at times it’s quite poorly mixed, with the vocals often being drowned out by the guitars and the whole thing sounding horribly toppy.
Overall, there are much better albums out there, and while the instrumentation is good at times, it’s just not good enough, especially when those terrible vocals are put over the top.
By Rob Barker
