My god, the sick bastards finally did it.
At last, Baroque punk assemblage Shunk drags us into the cavernous, zig-zagging depths of their operatic, post-punk sound with their fantastical debut album, Shunkland. It’s a brisk head-turner of an album at 26 minutes, but Shunkland is no mere introduction—it’s a dazzling debut.
This album is two things above all else: luxurious yet practical—like a dusty, gorgeous old mansion from the ‘70s. A bold, rich guitar from Peter Baylis might grab your attention first. He cranks his angled, chiming, ceaseless tone through two amps. A delightful extravagance, like gold leaf on a bonbon. Baylis’ riffs are methodical, calculated, and executed with lethal efficiency when needed. But in other moments, they melt away, dissolved, dispersed, but potent as ever.
Tantamount to Baylis’ deadly guitar is eminent bassist Julia Hill (Whoredrobe, BOZOBABY, Marontate, and more…), who seemingly plans to wrest control of the Montreal scene by shredding bass in every band in town. Hill’s complex, rock-solid basslines elevate these songs into the densely tangled “Rat King” they sing of, her lines elegantly interweaving with every element, then tightening together into an unbreakable, writhing knot.
Hill, of course, plays in lockstep with drummer Adrian Vaktor, who plays impeccably. Drum hits can be gunshots or raindrops, and Vaktor can do it all, leaning back into the pocket on the more relaxed, ethereal cuts, like “Banale,” or volleying rapid bursts of accurate fire on the hypest tracks like “Rat King,” or “Goblin.”
And if Shunk is a manor, lead vocalist Gabrielle Domingue is the ghost who haunts it. Thanks to Domingue, every song on Shunkland is instantly elevated to post-rock aria, with her soaring, operatic voice filling the void of every song. She shines throughout, particularly on dreamier tracks like “Clouds,” where her resonance delicately wades into the shimmering waters of undulating chorus guitar and synth chords.
With this debut, Shunk makes its offer known: punk-rock sensibility and opulent execution. A wedding cake on the floor. A PBR in a champagne flute. Decadence. Pragmatism. An elegant Yin and Yang that gives this album its depth and good humour. If you’re ready for something different, a visit to Shunkland might be just what you need.
