At first listen, Power Trip’s Nightmare Logic sounds for all the world like your typical thrash throwback — a pandering, nostalgia-laden love-letter to a decades-saturated genre. So why the fuck am I enjoying it so much?
It proudly wears common thrash trappings like whammy bar-wankery, retro reverb, time-twisting tempo changes, and syncopated percussive punching ripped right from Ride the Lightning and other damned-obvious source material. And after multiple listens, I still can’t pinpoint any effort Power Trip has made to modernize what they’re doing on Nightmare Logic. Therefore, I have to conclude that this Texas quintet has written an honest-to-God goddamned good thrash album.
“Soul Sacrifice” riffs with Exodus-esque enthusiasm before breaking into a Slayer-like sprint. “Executioner’s Tax” rolls like thunder toward a passage of Ulrich-ian tom pounding, building up tension to return to a lightning-crack chorus. “Waiting Around to Die” — with its palm-muted to open-note picking pattern and hazy production — could fit right at home on So Far, So Good… So What! (and even fits better, if you remember that “502” exists). It’s all stuff we’ve heard before, but even Power Trip’s previous effort, 2013’s Manifest Decimation, didn’t get it this right.
What Nightmare Logic does so well is harness the infectious energy — the no-nonsense, fluff-free, often-imitated intensity — of the primordial Big Four and Co. and injects it full to bursting into nine solid songs.
Aside from a few lo-fi, analog-sounding synth intros and outros, there’s barely a wasted second on the entire thing. Each song flows seamlessly between vicious verses, killer choruses, headbanging bridges, and dynamic breaks. Certain riffs occasionally get milked (the outro of “If Not Us Then Who” comes to mind), but it never takes too much of our time before we’re tearing into another track. Even the tacked-on second-verse solos — their inclusion more a regretful courtesy to the genre than anything truly noteworthy — serve the higher purpose of stoking the reignited flames and keeping the old-school metal momentum going. Strange, then, that for all their efforts in recreating the past, Power Trip’s tunes are so good at moving us relentlessly forward.
Above all, the thing that would sell any Bay Area ‘banger on Nightmare Logic (and Power Trip as a whole) is the vocalist. We’ve endured thrash singers for years, we know what to expect: sharp, rapid barks, accenting the attack of the guitars. And although lyrically it’s nothing special, Riley Gale’s vocal delivery would have stood out even in ‘85. His brazen hardcore howls, occasionally dragging deliciously behind the beat, are pulled off with charisma and confidence. He’s not carrying the band by any means, but he’s a hurricane force to be sure.
Power Trip does seem to favor their 75-85 BPM backbeat-banger riffs, but given the nostalgic context these sections never feel out of place — they’re practically made to be played live and get the circle pit brewin’. I can perfectly picture the bridge from “Firing Squad” eliciting the kind of impromptu mosh pit camaraderie that makes you sling an arm around the slippery, sweaty shoulder of the hesher next to you — and him to you — and headbang in unison until both your goddamn heads rattle off.
Nightmare Logic doesn’t surge with unrestrained electricity, or seek to impress us with phenomenal fret- or feet-work (the drummer doesn’t have a double bass pedal). Power Trip wears their influences on their sleeves, and they don’t spend a second trying to convince us they’re anything more than what they are. Instead, Nightmare Logic hits hard and plunges deep, an IV needle pumping us full of magical, time-traveling fluid, miraculously bringing what was once thought dead back to life. This concise, carefully executed package is the real deal.
If you’ve ever argued over whether Metallica or Megadeth was the better band, I can’t imagine you not liking Nightmare Logic.
Support Power Trip and buy Nightmare Logic in the link located above.