Let me tell you something that’s been bubbling in my mind for weeks: PRONG isn’t just releasing an album—they’re resurrecting a genre. I mean, how many bands from the ‘90s have actually managed to stay relevant while evolving? PRONG did it, and now they’re doing it again. Their self-titled album, out on November 6, isn’t just another record—it’s a statement. A declaration that even after decades of thrash, industrial metal, and crossover chaos, they’re still out here redefining what it means to be a band from New York’s punk scene. And honestly? I think this might be their most daring move yet.
Here’s the thing: PRONG’s decision to name their new album after themselves isn’t just a branding choice. It’s a rebellion against the idea that legacy bands should just coast. Tommy Victor, the guy who’s been the face of this band for decades, admits they were basically invisible on their old label, Steamhammer. ‘Oh, you guys are still around?’ he says. ‘Yeah, we just put out an album.’ That’s not just funny—it’s tragic. Bands like PRONG don’t get to be forgotten. They get to be reinvented. And with Napalm Records backing them, they’ve got the clout to do it right. But what really gets me is how they’re using this new platform to push boundaries. This isn’t just a rebrand; it’s a reinvention.
Now, let’s talk about the music. I’ve heard the first single, ‘The Banner,’ and I’m not sure if I’m more impressed by the speed or the melody. It’s like someone took the DNA of early ‘90s thrash and injected it with a modern dose of industrial grit. But here’s the kicker: some of these songs are song-oriented. That’s not a typo. In an era where metal often leans into chaos for chaos’ sake, PRONG is actually crafting hooks. ‘Fear The Sun’? It’s got that TYPE O NEGATIVE vibe, but with a rock-and-roll swagger that makes me think of bands like KILLSWITCH ENGAGE trying to be serious. Tommy even admits his son’s Spotify playlists influenced him. ‘Yeah, a lot of these bands sound like PRONG,’ he says. ‘So let’s do something like that.’ That’s not just lazy—it’s brilliant. It means they’re not just looking back; they’re looking at what’s working now and adapting.
And then there’s the production. Andy Sneap, a Grammy-winning engineer who’s worked with JUDAS PRIEST and DREAM THEATER, mixed this album. That’s not just a name drop—it’s a seismic shift. Steve Evetts, their longtime producer, is still respected, but Sneap’s work gives this record a punch that feels both fresh and nostalgic. I’ve listened to the demo tracks, and the difference is staggering. It’s like they finally got the sound they’ve been chasing for years. But here’s the thing: Tommy had to do this locally, juggling studio time with picking up his kids. That’s not just a logistical hurdle—it’s a reminder that real art comes from real life, not just studio perfection.
What I find fascinating is how PRONG is balancing their legacy with their evolution. Tracks like ‘The Uprising’ bring back that industrial edge, but with synths that feel like they’re from a different decade. ‘Uncertain Truth’ has this melodic chorus that would make a pop star weep. And then there’s ‘Simulated Drowning’—a track that sounds like it was written during a midnight drive, with riffs that hit harder than a speeding train. This isn’t just a collection of songs; it’s a full-throttle assault on the senses. But what’s even more interesting is how they’re using bonus tracks to play with expectations. Covering BANANARAMA’s ‘Cruel Summer’? That’s not just a gimmick. It’s a challenge to the idea that metal bands can’t be fun. They’re saying, ‘We’re not just here to scream—we’re here to entertain.’
Let’s not forget the context. PRONG formed during the CBGBs era, alongside GORILLA BISCUITS and MADBALL. They were part of that raw, unfiltered New York hardcore scene that birthed so many subgenres. But what makes them unique is their ability to blend melody with aggression. Their early records like Beg To Differ and Cleansing weren’t just albums—they were cultural touchstones. And now, with this new album, they’re proving that they’re still capable of creating music that feels both timeless and urgent. I think what this really suggests is that PRONG isn’t just surviving; they’re thriving. And if you take a step back and think about it, that’s not just a win for the band—it’s a win for metal as a whole.
So what’s next? I can’t help but wonder if this is the start of a new era for PRONG. They’ve got a live album out, a new label, and a sound that’s pushing boundaries. But here’s the thing: the most exciting part isn’t just the music. It’s the fact that they’re still out here, still fighting, still creating. In a world where so many bands from the ‘90s have either faded into obscurity or become caricatures of themselves, PRONG is reminding us that legacy isn’t about nostalgia—it’s about reinvention. And if this album is any indication, they’re not done yet.
