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Prime Directive Rises Again from The Fallout

Updated: Oct 11

Prime Directive has long been a staple in the Columbus punk scene, known for blending punk intensity with melodic metal influences. Their latest album, The Fallout, builds on this foundation with a well-rounded and powerful sound that captures both their technical precision and playful irreverence. Coming off the heels of 2022’s Nuke It All, which won Columbus Album of the Year, The Fallout carries a torch of expectation while simultaneously pushing their creative boundaries.



Judge's Overture/Prelude


The opening track, the melodic Prelude, showcases the band’s old-school metal influences with nods to Iron Maiden. It’s a deceptively simple composition, but its straightforward nature works in its favor. The reiterative melody promises to resonate warmly on vinyl, drawing you into the album with a sense of nostalgia that doesn’t feel overly derivative. There’s a humility in this piece that sets the tone perfectly for the rest of the album.


Hall of Justice


Hall of Justice exemplifies what Prime Directive does best—blending melody with aggression. While Alex Brannon may not have laid down the bass on this track, I can’t help but imagine the artistic stamp he’ll eventually put on its robust bassline. This track has a groove that begs to be experienced live. It feels like a pit anthem in the making, sure to get the crowd moving when they tour with it.


Alex Brannon on bass playing his second Prime Directive Show

Twilight


Driven by a killer rhythm section, Twilight highlights Sedlock's and Burn's guitar work. Their synchrony is nothing short of luscious—at times, it threatens to outshine Dredd’s vocals, which is no small feat. While there are moments when the guitars take a step back, you’ll find yourself craving their return. It’s in these guitar-heavy moments that the track reaches its fullest potential.


Reaper


Reaper is the album’s lead single, and having had the privilege of being part of the music video, which premiered in early 2023, I can tell you that Dredd’s vocal performance here is possibly his best yet. His range and power are on full display, and the backing harmonies elevate the song to another level. Sedlock’s solo work injects the track with dexterity and precision that provides depth and texture. This is the sound The Misfits could only wish to have achieved, if they had a guitarist like Ace Frehley to drive it.


Planet X


If you’re looking for a track that will break your neck, look no further than Planet X. This song cements Nixk  O'Time as one of the best drummers in the Columbus scene right now. The frantic energy is palpable from the first note, and it’s hard not to feel a sense of pride knowing the immense talent behind those drums. His growth since joining the band is on full display here, and this track is as much his as anyone’s.


Power Trio


Initially, Power Trio struck me as the weakest link on the album, especially lyrically. But that was before I got to the scathing scene commentary at the end. Now, I see it as one of the most daring punk songs to come out of Columbus in the past decade. Prime Directive deftly skewers local scene drama without naming names, giving the track a timeless, enigmatic quality. It’s the kind of song that will remain relevant as long as the Columbus punk scene continues to thrive and implode in equal measure. But THIS is how it should be done. No passive aggressive Instagram posts, coordinated smear campaigns, or fist fights. You got beef? Write a diss track it, record it, and move the fuck on.


Last Starfighter


For me, Last Starfighter is the crown jewel of The Fallout. It encapsulates everything that makes Prime Directive a force to be reckoned with—frantic metal riffs, driving punk rhythms, and Dredd belting out vocals with unrestrained power. The track even integrates a whimsical nursery rhyme, adding a layer of unexpected sincerity. This is what happens when the band is firing on all cylinders, and I hope it becomes their new defining song, surpassing even the satirical brilliance of Space Force.


Don’t You Want Me (Human League Cover)


I’m a sucker for a well-done cover, and Prime Directive’s take on Human League’s Don’t You Want Me might just outshine the original. Johnny Dredd shares vocal duties with Leah Hanson of The Villiantinos, and the result is electric. Hanson, with her powerful voice and stage presence, channels the best of Joan Jett and Debbie Harry, adding a fresh twist to this iconic track. If you had trouble recalling the original artist behind this song before you’ll have an even harder time after hearing this version.


Leah Hanson of The Villaintinos

Victor


While Victor channels an old-school doom metal vibe, it’s probably the weakest track on the album for me. Though it functions well musically, I’m skeptical about its longevity in live performances. Dredd’s vocals seem strained and over edited on this. So, I worry about the toll it might take if performed regularly. It’s not a filler track by any means, but on an album filled with standout moments, Victor feels mildly forgettable.


Wolfman


Wolfman infuses the album with even more classic horror punk infused with metal riffs—everything you’d expect from Prime Directive. It’s a fitting track that captures the band’s ethos and leaves you wanting more. It's a typical PD song, but I feel like this one needs to be listened to on vinyl or heard life to truly appreciate the band's synergy. Landing Party The opening of this track feels almost cinematic, like something you would hear at the climax of an epic sci-fi film or in the opening of an anime. It features a heavy 80s power metal vibe perfect for air guitar or the gym. O'Time's drum fills on this song are more energizing than a double shot of espresso and had me skanking barefoot in my basement. Overall it is a great track, with lyrics that allow Dredd to do what he does best while the dizzying syncopation between both guitarists is delightfully delicious to the eardrums.


In summary, The Fallout is a triumphant evolution of Prime Directive’s sound, balancing their hallmark humor with more mature and intricate compositions. Since Nuke It All, both O'Time and Burns have more than just left their mark on the band, they have enhanced the legendary local group with depth and texture. Although not on this album, we couldn't be more excited to watch the newest member of Prime Directive, bassist Ale Brannon, grow into his role and leave his mark as well. While not every track hits the same highs, the majority of the album is packed with bangers that showcase a band in their prime. Whether you’re headbanging to Planet X or contemplating the deeper meanings of Power Trio, The Fallout has something for every punk and metal fan out there. And don’t forget to catch them live—these songs are destined for the stage.

Speaking of which...Make sure to catch out Prime Directive at The Fallout record release show with support from Cursed Rosie, Phantom Grins, and Feed Us Snacks next Saturday, October 19th at Spacebar. Until next time, stay safe in the pit.

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