Band:	Nuclear Power Trio
Album:	Wet Ass Plutonium
Style:	Instrumental, Jazz fusion, Progressive metal
Release date:	July 28, 2023
A review by:	AndyMetalFreak

01. W.A.P. (Wet Ass Plutonium)
02. Apocalypse Mao
03. Nyetflix And Chill
04. Air Force Fun
05. Snark Side Of The Un
06. ¡Vamos, Brandito!
07. Anti-Saxxers (Mandatory Saxination)
08. Critical Bass Theory
09. Red Scare Bear Stare

Don't be fooled ladies and gents, behind the Nuclear Power Trio's outrageous masquerade is a set of extraordinarily talented musicians that put on a masterclass display in instrumental progressive metal. Masks, eh: now, who says metal can't be silly?

Formed in the USA circa 2017, Nuclear Power Trio consists of bassist Nick Schendzielos, aka Vlad (Cephalic Carnage, Havok), guitarist Greg Burgess/Donny (Allegaeon), and drummer Pete Webberon/Kimmy (Havok, Ravage), while also featuring guest solos from Chris Broderick (ex-Megadeth/In Flames) and Scott Carstairs (Fallujah). So, what we ultimately have here is a fully seasoned line-up of extraordinarily talented musicians, who now present their interestingly named full-length debut album, Wet Ass Plutonium, which follows their remarkable debut EP A Clear And Present Rager released back in 2020.

Now, for starters, you simply can't ignore the bizarre retro-themed, Miami-style cover art, which features an 80s classic Lamborghini sports car, surrounded by three of the most controversial political figures of recent times: Donald Trump, Vladimir Putin, and Kim Jong Un. The trio comically go by the names of these three powerful leaders, as well as impersonating them, hence the band title Nuclear Power Trio). Now, to go along with the humourous song titles and edgy themes, there is some extraordinarily well-crafted instrumentation on this purely instrumental album. Yes, this means there are no vocals present at any time during this record.

With nine tracks in total, Wet Ass Plutonium clocks in at an ideal 37 minutes in length. From one to the next, each song contains an equal level of complexity and groove, with an endless supply of memorable melodies, and dynamic rhythm and tempo changes throughout. Each musician performs to an exceptional standard; from Donny's jazzy shredding leads and groovy riff melodies, to Kimmy's top-quality precision rhythmic drumming beats, and Vlad's exceptional groovy, jazzy bass lines, you are treated to an outstanding display of masterful musicianship.

The album's structure is unsurprisingly progressive, and there's a clear 80s retro-theme going on, almost like a gaming-like soundtrack, very similar to Andy Gillion's impressive release last year, Arcade Metal. However, this style simply goes beyond just progressive; here you have a impressively complex mix of Latin-styled jazz fusion, with a touch of flamenco flare, along with some Miami synthwave and djenty elements thrown in. There are several instrumental surprises along the way too, most notably the saxophone on the jazzy "Anti-Saxxers (Mandatory Saxination)". From the short, punchy "Air Force Fun", to the memorably melodic synth leads of "Critical Bass Theory", and the title track, this is an ideal album for anyone who simply appreciates instrumental progressive metal.

Now, this all sounds good, performance wise there's nothing to fault, and the way this album is crafted is certainly top notch to say the least. However, this album doesn't come without its flaws, and those flaws are in the production. Now, don't get me wrong, the production is far from bad; however, the mix can be muddy, and there are times when a particular element overshadows another, and loses way in the mix. Still, this doesn't in any way affect the album's quality songwriting and performances.