Review Summary: Prison really changes a man
After vocalist Walter Delgado went to jail for drug possession, Rotting Out fell off the map for a while. Their debut LP Street Prowl and subsequent records had been a ridiculously energetic and straightforward exercises in LA-style hardcore punk, in sharp contrast to many of the downtempo, heavy hardcore bands that seem to be dominating the scene today. Delgado’s release from prison sees them come together again to release Ronin, which may be their most introspective and unique work yet, obviously influenced by Delgado’s time in the pen.
The first major change this album presents to the listener is Delgado’s voice. It has gone from a hardcore-punk should a-la Henry Rollins to something in between Ian MacKaye and a midwest screamo vocalist. It’s urgent and desperate, in sharp contrast to many hardcore music vocalists that feel fit to half-growl nonsense through an entire record. The instrumentals are simple but work very well in the context of Delgado’s vocals and the subject matter discussed in the song. Driving punk drum beats give a foundation for sharp riffs and catchy bass lines that are sure to get circle pits going at live shows. It’s definitely the part of this album most similar to their previous work.
Much of the lyrics on this album deal with a mixture of typical street-punk subjects such as life in the city, sudden and unpredictable violence. But added to this mixture is a lot of existential despair, self-loathing, and rumination on more personal struggles, largely coming from Delgado’s experience with going to prison and getting older. Album highlights “Prisoner” and “Boy” see Delgado at his most personal and reflective concerning the path he has taken in life and why he has gone through so much hardship. The latter is over five minutes long, longest on the album and one of the longest songs the band has written, and goes through a good amount of tempo changes and more softer moments to accompany the vulnerability Delgado expresses. Faster and shorter tracks like “Reaper” and “Last Man Standing” have catchy gang choruses and great call-outs into breakdowns sure to get a crowd moving. Overall, while nothing deviates too heavily from genre conventions or the band’s established sound, there is plenty of variation and good execution to enjoy.
But moreover, the most important aspect of this album is where it stands in the greater context of hardcore/punk right now. As the heaviness arms races chugs on, more and more downtempo, nu-metal influenced heavy hardcore bands have entered the scene, hardcore seems to have a shortage of bands performing more urban, lighter, and faster variations of it. For fans old-school L.A. punk, or for people who simply just want a change in pace, this album is a great listen.
