Warped Tour ain't nearly as warped as it once was. The annual rock 'n' roll circus rolls across the country every summer, showcasing the underground and the DIY. Yet however pervasive the punk-rock aesthetic is, the bands, well, for the most part sound alike.

This year there was an exception - a glowering, seething, menacing exception. British hardcore group Gallows was the best goddamned band on the bill, full of rock ‘n' roll piss and venom. It commandeered the stage like pirates aboard a sinking ship, while other bands on the bill seemed more concerned about their girlie haircuts and tight shorts.

A Gallows show is a classic hardcore tantrum infused with brash vitality. The band is wild and volatile to the max, but also substantive; this is an intelligent, relevant, and focused outfit with something to say. Gallows attacks things like racism and other social cancers head on with a slightly antagonistic streak. The music serves as its platform, a call to action.

Formed in Watford, England, in 2005, Gallows - Frank Carter, vocals; Steph Carter, guitar; Stu Gili-Ross, bass; Laurent "Lags" Barnard, guitar; and Lee Barratt, drums - quickly became recognized for its uncompromising, unrelenting shows. There is no casually observing this band. There's no casual anything about Gallows.

The band recently released its third CD, "Grey Britain," and is embarking on a U.S. tour that guitarist Lags Barnard thinks goes into late November. He wasn't sure, but called from overseas to answer a few of my dumb questions anyway. An edited transcript follows.

CITY: Give me some Gallows background.

Lags Barnard: I approached Frank [Carter] to start a band a long, long time ago before Gallows existed. We started playing really small shows to nobody. We'd drive a few hours to play in front of like five people.

What were your influences then?

When we first started the band I think we were more influenced by bands like Blood Brothers or Dillinger Escape Plan, and just crazy stuff. The funny thing is when we started recording our demo, Frank's vocal style came through - it had a very kind of British sound - so it made whatever we played as a band sound kind of punk rock. He's not ashamed of his roots.

What do you mean?

You get a lot of people from England that try and sound American or try to fit into what's cool or whatever. Frank's got quite an individual voice.

You guys remind me of Minor Threat a little bit.

Yeah, as it progressed we definitely had a strong American 80's hardcore influence, especially Dischord Records and stuff like that.

How did you make it your own?

I think Frank holds all the music together. Basically when we play, we do what the fuck we want, because his vocals just tie everything together.

Gallows seems quite reactionary to our current status. Do you find it the same in England as in the States?

The economic crisis, this depression we're in...a lot of places are suffering the same kind of problems. When we're on tour you kind of lose touch, you get trapped in this little bubble. But when we're at home for a few weeks and you watch the news, you read the newspapers, look on the internet and this crisis we're in is bringing out a lot of immoral attributes in human beings...the greed at the top of the chain.

But bad times make for great music.

Right. But there are not many bands like us - especially in England - that are raising awareness to certain issues. Even the hardcore bands back home are still singing songs about girls.

If there were no economic or moral strife in the world, could Gallows still exist?

That's just a situation that's never going to arise. I'm pretty sure Frank will always find something to shout about. When "Grey Britain" came out we managed to tap into that moment in history that, if it wasn't there, I'm sure we'd still be able to write an equally aggressive record.

I read where Frank said you present the problem, but not the answer.

It's just a case of making people aware. Do you know what I mean? It's up to individuals to make the future a better place. Like the kids that listen to our band, they are the future.

Sometimes the energy and aggression of your shows has led to Frank in the pit duking it out with some clown. Is the energy just too much to contain for some audiences?

For me, I'd much rather play a show with no hitches. And that goes for the rest of the band. Frank doesn't suffer fools gladly, so if someone is to take a shot at him he'll take a shot back. But we're never the ones to start anything.

How has the band grown since the last record?

The thing with the new record, we made it a lot more straightforward, whereas the first record, we literally threw it together really quickly. We thought we might sell something like 500 CDs. It was on a really small DIY label back home, only 1000 were going to be pressed. We knew this one would reach a much wider audience so what we had in our heads was we wanted to have a greater impact with the songs and music. We tried to incorporate other elements of music that we really enjoy.

Like what?

Things like classical piano, string pieces...things you wouldn't expect on record from a band like Gallows. We're just trying to prove if you're in a punk or rock band, you don't have to stick to the usual formula. It's funny because people say, "That's not punk." But punk is doing whatever you want. People think punk has got these boundaries, and if you cross these boundaries, you're not punk anymore.

How's it all going to end?

I've never actually thought that far ahead. I've always thought of Gallows as a band in the moment as opposed to planning ahead or looking back.

Gallows

Opening for AFI

Friday, October 16

Water Street Music Hall, 204 N Water St

7 p.m. | $28 | 325-5600, gallows.co.uk