Nations Afire – Violence EP

Nations Afire has been lying dormant since their debut full length five years back, but the fire has once again sparked to life for the punk rock supergroup.  Consisting of ex-members of Ignite, Rise Against, Death by Stereo, and some present members of Ignite, and Great Collapse, the band has an unquestionable knowhow surrounding hard nosed, fists in the air punk.  That being said, Nations Afire’s prior output has been at best forgettable, and at worst generic.  So the question becomes, does their new EP address past disappointment?

The short answer is yes.  The Violence EP seems to be taking steps in a more passionate and distinct direction.  Thankfully the band has discarded any and all likenesses to the stale radio rock of Theory of a Deadman and Nickelback, in favour of something far more akin to their pedigree.  The overall sound is quicker, more energized, and feels like a natural tour opener for the likes of Strung Out and Rise Against.  Where past work trudged through riffs like a zombie, the Violence EP firmly grabs listeners by the hand and makes a break for it.

The album roars open to steady ripping guitars and the militant melodic beat of “I’m A Brick In The Ocean.”  The steady ticking beat makes for an unlikely Pulley comparison (think “Insects Destroy”), although far hardier and more rock-oriented in composition.  Unlike in past outings, the track’s personality shines through in place of formulaic made-for-radio chorus lines.  Only “Left Behind” slows down enough to risk this, and it sneaks by as a welcome mid-album tempo shift. Others like “Dead To Rights” and the title track take aim with swift speed and rumbling bass.  “Left Behind” finds the band falling in with old habits, but being followed by the personality rich “Sifting Through Ash” allows the band to brush off harsh criticism before the EP concludes.

For those that were uninterested in Nations Afire’s past work, the Violence EP presents the band in a fat more exciting light.  There remains some underwhelming moments, but they are no longer the minority, and are far more forgivable considering the volume of their more engaging counterparts.