Post-Punk Meets Oil-Soaked Sermons in The Ravens of Gallis Row’s Drill Baby Drill –

The Ravens of Gallis Row poured petrol over political theatre and struck a match with Drill Baby Drill, their fourth single and the first since rebranding from Judas Goat & the Bellwether. Engineered by Jon Buckett, mixed by Ben Scott, and mastered by Pete Maher, the track comes steeped in the sort of sardonic fire that flickers on the edge of collapse. It’s not satire, not really. It’s scripture for a sick world, sung with a smirk and strung with the dissonant paradox of Diabolos Musica: once branded demonic, now a potential sound of the sacred.

Through sermonic Americana folk strings that jangle like warning bells in an abandoned chapel, the South West England-based band channel post-punk shadows without shedding the red, white and blue tint of their apocalyptic vision. The acoustic lines spark and scrape, while the chorus drills into your consciousness with militaristic cadence. Vocals from Sara Vian strike between preacher, prophet and performance artist, flanked by Pete Vincent’s acoustic grit, Sash Impey’s incendiary leads, Jim Scriven’s deep bass resonance, and Stefan Steinhoff laying rhythmic foundation beneath the holy-hellfire.

Where Landman drowns reality in glossy revisionism, Drill Baby Drill refuses to offer comfort. It drags you into the maw of oil-soaked nationalism and baptises you in corporate lies, weaponised religion, and the crumbling illusions of liberty. It’s a Bond theme for the burnt-out, sermon and spectacle twisted together in a hymn for lost morality. From Gaza to Vegas, no desertscape is spared.

Drill Baby Drill is now available on all major streaming platforms, including Bandcamp.
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Review by Amelia Vandergast