Album review: Nails - Every Bridge Burning

When you think of grindcore, certain images come to mind: a sonic bludgeoning, visceral screams, and riffs sharp enough to carve through concrete. California’s Nails, led by the relentless Todd Jones, have long been the poster children for this unforgiving sound. Their latest album, Every Bridge Burning, doesn’t just toe the line of their past work—it charges through it like a bull in a china shop, albeit with a few interesting deviations.

Nails have been around for over a decade now, and if you’ve followed their journey, you’ll know they’ve always walked the tightrope between grindcore ferocity and hardcore’s unyielding grit. With Every Bridge Burning, they’re still firmly planted in their roots, but there’s a sense of evolution—like they’ve found a new way to make your ears bleed while still keeping things interesting. But let’s not get ahead of ourselves.

The album opens with “Imposing Will,” a track that feels like a swift kick to the teeth. It’s classic Nails: fast, furious, and filled with enough distortion to make your speakers beg for mercy. But just when you think you’ve got them figured out, they switch gears with a groove so nasty it could make a biker bar brawl look tame. This duality—the ability to blend sheer aggression with moments of head-nodding, almost catchy riffs—is where Nails show their growth. They’re not just about pummeling you into submission; they want to leave you with a bruise that’s as memorable as it is painful.

One of the standout tracks, “Give Me the Painkiller,” is where the album takes a slight left turn. It’s still heavy, don’t worry about that, but there’s a rock ‘n’ roll swagger here that’s unexpected. Imagine Motörhead reincarnated in a grindcore band, and you’re halfway there. It’s a track that doesn’t just want to rip your face off; it wants you to enjoy the ride while it does.

But before you start thinking Nails have gone soft, they follow it up with “Lacking the Ability to Process Empathy.” This is Nails at their most vicious—a slow, grinding dirge that oozes malice from every note. The title alone is worth the price of admission. It’s a track that feels like the sonic equivalent of a crowbar to the face—blunt, brutal, and impossible to ignore. The shift in tempo gives the album a sense of dynamics, making the faster tracks hit even harder when they come roaring back.

Speaking of speed, “Trapped” and “Made Up in Your Mind” are a one-two punch that will leave you gasping for air. Clocking in at a combined total of just over two minutes (yep!), they’re short, sharp, and to the point—like a grindcore haiku, if haikus were written by people who’ve spent way too much time in mosh pits. These tracks are a reminder that Nails still know how to keep things concise. There’s no fat to trim here; every second is designed for maximum impact.

The album’s title track, “Every Bridge Burning,” feels like an anthem for those who’ve been burned one too many times and decided to light the match themselves. The track is filled with chunky, chugging riffs that would make the most jaded metalhead crack a grin. It’s a song that’s both a declaration and a warning: Nails aren’t here to make friends, and they certainly aren’t here to rebuild bridges they’ve already burned.

As the album progresses, there’s a noticeable shift towards more metal influences. “I Can’t Turn It Off” channels early Suicidal Tendencies with its mix of thrash and hardcore, while “No More Rivers to Cross” brings things to a slow, sludgy close. This final track is the longest on the album, clocking in at just over three minutes—a marathon by Nails standards. It’s a fitting end, heavy and oppressive, like wading through a swamp filled with broken glass.

Lyrically, Every Bridge Burning sees Jones at his most introspective. There’s a raw honesty here that cuts through the noise, offering glimpses of vulnerability amidst the aggression. It’s a balance that few bands manage to strike, but Nails pull it off with aplomb. Whether he’s screaming about personal betrayal or societal decay, there’s a conviction in Jones’s delivery that makes every word hit like a sledgehammer.

Now, let’s talk about the production. Kurt Ballou of Converge once again handles the controls, and it shows. The album sounds massive—every instrument is given space to breathe (or, more accurately, to suffocate). The guitars are thick and meaty, the drums thunderous, and the vocals seethe with venom. It’s a production that serves the songs well, allowing Nails to be as brutal as they want to be without sacrificing clarity. You can hear every snarl, every drum hit, every bone-crushing riff in all its ugly glory.

Occasionally there are moments where the album feels like it’s treading familiar ground. Nails have a formula that works, but there are times when you wish they’d take a few more risks, push the boundaries a bit further. The album is undeniably strong, but it doesn’t quite reach the heights of their earlier work like Abandon All Life or Unsilent Death. And waiting 8 years for under 17 minutes of new music does seem a little strange, even if Nails do pack a whole lot into that run time.

In the end, Every Bridge Burning is exactly what you’d expect from a Nails album: relentless, punishing, and utterly uncompromising. It’s a record that will appeal to longtime fans and newcomers alike, offering just enough new tricks to keep things interesting while staying true to the band’s core sound. It’s not going to win over anyone who wasn’t already on board, but for those who love their music fast, heavy, and full of fury, this is another fine entry from one of grindcore’s most consistent bands.

When I first met Todd in London, England, he mentioned that Nails always like to play Montreal when they tour. True to his word, they’ll be back to play Fairmount Theatre on September 11. See you in the pit!

Every Bridge Burning is released on 30th August on all physical formats