I feel a sense of responsibility as I sit down to write this review; such is the lore, discography and associated fandom of NAILS. I imagine most are well aware of their position in the modern history of hardcore, metallic hardcore, powerviolence or whatever one fancies referring to them as, but in case anyone isn’t, I’ll provide a very succinct summary. NAILS, the brainchild (mostly) of founding member Todd Jones (former guitarist of Terror who also takes vocal duties in NAILS) dropped a couple EP’s/Splits and 3 full lengths (albeit the longest of which clocked in at 22 mins) between the years of 2010 and 2016. During this time, the band was completed by bassist John Gianelli and drummer Cody Young. The band’s output from this initial period was savage, relentless, influential, and widely adored. And then in July ’16, an abrupt announcement carried the news of the band cancelling all booked shows and went as far as to say they “had no plans to play live or record ever again”. No further details were provided. And thus, one of the great talking points of modern metallic HC (or whatever the fuck) was born.

Todd has been cited since then as saying the quote about not playing or recording again was bullshit, but whatever the situation, there were 8 years of little more than speculation and extended periods of silence. Then rumours started swirling. Then Todd started being cryptically and sporadically active in the scene. And then…the news came that many had feared never would. It came in the form of an IG post. Specifically, a picture of Todd with Kurt Ballou at God City studios. It could hardly be a better way of announcing their return. Joining Todd were now 3 other members; drummer Carlos Cruz (Warbringer), bassist Andrew Solis (Despise You, Apparition) and guitarist Shelby Lermo from death metal luminaries Ulthar). That sets the scene pretty well I hope? For once I don’t feel bad about elaborating on the background because it’s a NAILS record. So it justifies it on the history alone. (Also, the record is obviously only about 20 mins long, so I can’t stretch the analysis out for too long.)

If anyone was worried, then don’t be. There hasn’t been much of a departure in terms of sound. And why would there be? When you have such a distilled essence as your band’s signature sound, then why would you wish to change? But I would also argue this is not purely ‘more of the same’ in the simplest terms. I think that rhythmically, this is a catchier record than You Will Never Be One Of Us and although it’s by no means a Full Of Hell-style wander through extreme styles, there are ‘pick ‘n’ mix’ aspects of groove metal, grind and the home turf of savage metallic hardcore on display across the record that makes it decidedly less one-note than some detractors of NAILS might like to expect. Tonally, we’re in grinding HM2 and roared/bellowed-vocal territory, but Kurt Ballou has done an extraordinary job in taking something that could easily be delivered purely as aural devastation and has wrangled textural relief and dynamics (especially from the rhythm section) to such an extent that this record feels arguably more alive than its predecessors from a production standpoint. That’s probably a controversial statement for some disciples of the first-era output, but either way, good headphones are certainly not a waste here.

I haven’t deliberately left this to the back end of this review, but as luck would have it, the songs on display here are every bit as brilliant as the musicianship, the production, and anything else associated with the record. This record houses 10 songs. Many of which feel as violent and as unhinged as anything that has come before (check out the 3-minutes total, 3-song suite of ‘Trapped’, ‘Made Up In Your Mind’ and ‘Dehumanized’ if you have any doubt). NAILS remain as dextrous, and as expert in wielding the power of groove and rhythm as ever they have; and even delve further into doomier territories (closer ‘No More Rivers To Cross’ being the best example) evoking modern death metal bands such as Fuming Mouth or Gatecreeper. It’s hard to articulate how well they have found my sweet spot, frankly.

NAILS were almost on a hiding to nothing when they came back. There were always going to be ‘purists’ who would argue they should have stayed gone. There will also be people who are just waiting to drop their hot takes about this being in some way insufficient to stand up against their legacy. Maybe I’m just swept up in having them back. But I think they’ve landed in a rare ‘Goldilocks zone’ for anyone making anything approaching a comeback. The vibe is absolutely 100% still NAILS. The quality of the output is immaculate. The songs, the execution and delivery of this record…I have no notes. I think it’s about as good as anyone, myself included, could have hoped or expected it to be. Yes, I have a soft spot for violent, 20-odd minute HC records, but it’s been a long time since NAILS first made this sound. And the fact that they still own this sound with such dominance and are able to generate material that is so singularly their own, with the urgency and vibe to match, is a reason for celebration. This record absolutely kills. I won’t pretend I didn’t have my misgivings before pressing play, but I’m delighted that NAILS have slapped a big fat fucking smile onto my face once again.