Outbreak – Self-Titled

A couple of review packages ago I managed to misplace a drop card for Outbreak’s two-song teaser EP “Work To Death.”  This turn of events really upset me, especially after reading the tantalizing album synopsis and accompanying biosheet that hyped the eight-year-old group to be frontrunners of hardcore punk.   And as I’ve learned over the past year – and contrary to my mindset prior to reviewing for The Punk Site – I can really appreciate a good hardcore punk album – emphasis on the punk.  So I was absolutely stoked and ready for my chance at redemption when I learned that I would be reviewingOutbreak’s follow-up to “Work To Death.”

The album, serving as their latest full-length, has the lofty distinction of being the band’s self-titled effort – a distinction usually reserved for career defining products.  And speaking as a newcomer to the band, I feel that Outbreak does the band justice, and effectively communicates their unapologetic, absolutely raw and unhinged brand of Black Flag inspired hardcore punk.

At first glance the album’s fifteen tracks in twenty minutes formula might sound disappointing, but that’s only if you view the album from a modern mainstream perspective.  What Outbreak achieves in twenty minutes is a clear case against the usually expected three minutes per track and forty minute CD formula.  Outbreak throws convention out the window and offers a myriad of sounds, tempos, and expressions in tracks ranging from twenty eight seconds to two and a half minutes. Very often thrashy tracks like “HL” and “Misdirected” seamlessly meld together with only an elevation in tempo truly differentiating them.  Guitarist Billy Bean effortlessly rips through chords, and the high-toned screaming of vocalist Ryan O’Connor belts these tracks into complete chaos.

Generally, Outbreak avoids writing longer tracks unless each second holds purpose and direction.  Tracks like “Temporary Hype” and “In the Digital World” use these extra moments to build suspense through drum heavy, anthemic intros, reinforce intensity through vocal repetition, and even some skillfully executed solos.  “In the Digital World” includes some particularly memorable slower moments featuring gang vocals that prevent Outbreak’s thrashy side from overpowering the album.  “Concealed” has become a personal favourite precisely because of the great balance between the aforementioned solos, big choruses, shifting tempos, and frantic vocals.

As I’ve already stated, Outbreak’s self-titled work is a great defining record for the band.  It isn’t by any means hugely innovative, but it certainly sets a high benchmark in the hardcore punk arena.  If you’re feeling low and need a boost of audio energy, then look no further.  This is audio adrenaline.