Gurriers - Nobody's Coming To Save You Gurriers

When Dublin’s Gurriers released 2024 debut album ‘Come And See’, they underlined their status as a visceral, unignorable new voice in the thriving Irish punk scene.
Since then, they have carved out a steadily escalating reputation for bone-rattling, mosh-ready live shows.
‘Come And See’ pushed their lyrical chops and curious, socially-exploratory outlook to the fore too, platforming songs about digital angst and IRL terror in the modern world.

The quintet’s superb second album might be called ‘Nobody’s Coming To Save You’ then, but it could easily be subtitled ‘harder, better, faster, stronger’.
Recorded at Donegal’s Attica Studios and Holy Mountain Studios in London with producers Mark Bowen of Idles and Loren Humphrey (Geese, Cameron Winter), alongside engineer Chris Fullard (IDLES, Sunn O)))) and world-renowned mixer John Congleton (St. Vincent, Modest Mouse, Swans), the crack team that readily assembled for LP number two speaks volumes of its quality from the off.
This is Gurriers taking all the musical chemistry and smart, interrogational worldview that made them great in the first place and souping it up to the next level.

From the rattling tension of the title track’s opening moments that then give way to a cacophonous, cathartic climax, ‘Nobody’s Coming To Save You’ takes this spirit of the sweaty basement venue and turns it stadium-sized.
It’s not just loud, but dynamic.
‘Shades’ takes shards of industrial, angular guitar and sends them into a gnarly hardcore chorus, while ‘Drones’ is a true pressure-cranking slow build with a drop destined to decimate every mosh pit they travel through.
On ‘Pins’, they explore a looser, more melodic swagger that comes on like a grunge / trip-hop hybrid, whereas ‘Party Lines’ is pure insatiable dance-punk hedonism.
If the band’s MO was to find a way to make the record slap you in the face, then consider yourself smacked.

With ‘Nobody’s Coming To Save You’, Gurriers have sent their ambitions sky-high and come out swinging.