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Nightmare Logic

By power trip.

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Meet Power Trip, a band determined to wreak havoc with the system

They’ve taken thrash’s template and doused it with filth, and they’re kicking political apathy in the face. Meet Power Trip, a band determined to fuck up the system

The world is going to hell right now. But as society fractures, the one cliché we’ve been told we can rely on is that impending doom and political uncertainty will result in great art. The climate in America is at its most conservative since the original thrash boom raged against Reagan. It’s been a while, but we live in hope that metal is ready to fight against the system once again.

“I was asked about whether metal could be political still,” Power Trip vocalist Riley Gale snorts. “And I think it’s bullshit to say that it couldn’t. It’s always been about going against the grain and pushing the boundaries – not just in music but also in the way we think. But I’m no political science major, I can only try and deconstruct what I think is wrong. I’m more interested in what my songs mean to you! I want to know how what I write affects people.”

Once Riley gets on a roll, he’s almost impossible to stop. Having been front and centre of one of the most explosive and vibrant thrash bands of the past decade, he’s got used to running his mouth at maximum pace. But he has a level of intelligence and intellect that is totally at odds with the lazy, meat-headed metal dude stereotype. In fact, the inspiration for Power Trip’s lyrical standpoint came while Riley was studying English at college around the time of their 2009 Armageddon Blues EP.

“I got into this ‘Intro To Rhetoric’ class with this professor called Dr Kyle Jensen,” explains Riley. “He was the shit, so intelligent, and I just wanted to take every class I could with him. And I was already thinking about the future, accepting the fact that we were going to see World War Three. I knew, even 10 years ago, that we were going to see this huge global change that would redefine what being human is because of technology. I don’t feel comfortable in this environment. My professor really encouraged me to continue that thinking, to take these French post-modern philosophy classes and watch the news every day from many different sources. It really made me realise my place in the world. So every record is about, ‘Oh, the world is fucked!’ I wrote the new one before Trump was even elected! I mean, I didn’t need to change anything!”

Since forming in Texas in 2008, just for, as Riley puts it, “Something cool to do to pass the time”, Power Trip have mutated from a fun hobby to one of the most vital bands around. After releasing a couple of EPs and one excellent full-length album in 2013’s Manifest Decimation , they became hotly tipped in underground circles. But newcomers and existing fans alike have been blown away by latest album Nightmare Logic ’s brand of brutal, warp-speed crossover – it takes everything that Power Trip have done up to this point and makes it hit harder, faster and more often. It’s like a trip through some of heavy music’s most glorious moments; everything from Testament to Agnostic Front to Sepultura to Obituary are represented. If you like your music heavy, harsh and abrasive, and feel that you have been underserved over the last few years, Power Trip have got your back.

“The problem with metal recently has been that it’s either too polished, like Avenged Sevenfold or Five Finger Death Punch, or bands have a gimmick or try to step out of the box just to be different,” says Riley. “The new thrash records are way too polished. I think part of our appeal is that people think we sound old as shit! We still try and have our own sound, but I guess we aren’t reinventing the wheel. It’s a mixture of something modern with an old-school approach.”

The ‘old-school approach’ means being able to cut it live, and, with Power Trip about to head over to our shores with Napalm Death and Brujeria, they’ll need to show their prowess.

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“I always say that if you put us in front of anyone that likes heavy music, they are going to leave liking our band,” Riley confidently predicts. “We toured with Lamb Of God and Anthrax at the end of 2015. We were the opening band and no one knew who we were. So me and Chris [Ulsh], our drummer, would walk through the crowd just before we were due to come on. There would always be some country motherfucker like [adopts Southern drawl], ‘Let’s get these faggot opening bands out the way!’, and then after we’d play, he’d be at our merch stand telling us we were the greatest opening band he’d ever seen. I remember seeing videos of those early thrash and hardcore shows and they looked genuinely dangerous. We want it to be that wild again, no matter how big the venue, no matter where we are on the bill – we want to instigate people losing their minds.”

It all points to a bright future… for Power Trip at least. For society at large? Riley isn’t so sure.

“I’m constantly thinking about the future,” he says. “The song Executioner’s Tax is about people just plugging into technology, eating whatever they want and waiting to die. Just checking out of life and wanting a nice, warm, comfy death. And I’m like, ‘Nah! Fuck that!’ Let’s try and do something about the world if we don’t like it or if we’re really that unhappy. We aren’t meant to sit in some small apartment and wait for The Reaper to show up! I guess a lot of it is because I know I won’t reach old age, or I’ll end up an empty shell of myself. I guess once you accept that, it’s actually quite empowering.”

Despite this attitude, and the disdain Riley has for those currently holding control of the world, there is a message of hope and positivity within Power Trip’s music: they’re not giving up yet, and neither should we.

“We’re honoured to be sharing a stage with a band like Napalm Death,” he tells us. “I look at the way that Barney [Greenway, frontman] talks to people onstage. It’s not just the level of passion and belief he has, but the eloquence and the intelligence and the empathy for his fellow man. That’s inspiring to me. That’s where I aim to be. I’m not there yet, but I believe in the power of the human spirit. I think we can make it through, whatever hell we are about to go through.”

Power Trip play the Campaign For Mutual Destruction tour

Power Trip - Nightmare Logic album review

Since blagging his way onto the Hammer team a decade ago, Stephen has written countless features and reviews for the magazine, usually specialising in punk, hardcore and 90s metal, and still holds out the faint hope of one day getting his beloved U2 into the pages of the mag. He also regularly spouts his opinions on the Metal Hammer Podcast.

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Power Trip Nightmare Logic Louise Brown , March 8th, 2017 12:40

The first howl on the new Power Trip full-length was written prophetically as the 2016 primaries battled in and around the band's homestate of Texas. Raised on a punk rock diet, in a college-town where positive hardcore bands played alongside power-violence acts without batting an eye, the outcome of the election was just a dystopian madness that they never imagined. As the album, now mixed, mastered and packaged with artwork from the ever-disturbing Paulo Girardi, filters onto the streets, that nightmare is real. Power Trip, unwittingly, have soundtracked our anger, confusion and desperation in 32 minutes of tormenting thrash metal.

Nightmare Logic builds quickly into an anguished, otherworldly rumble with unsettling, industrialised noise – perhaps the masterstroke of Prurient and Terrorism producer Arthur Rizk who moulds Nightmare Logic from just another retro thrash offering into a shape-shifting, harrowing beast. When the breakdown come in – and by breakdown we mean both musical and philosophical – frontman Riley Gale yelps in genuine pain. There is a menacing groove and fiery fury in the guitars of Blake Ibanez and Nick Stewart, while rhythmically Chris Whetzal and Ulsh pound bass and drums respectively with all the frustration of the socially displaced.

When thrash metal was born out of a collision of hardcore punk and heavy metal in the 1980s it was with a backdrop of similar political vexation. Thrash bands such as Nuclear Assault, Megadeth and Sepultura wrote songs that railed against war, injustice and corruption. As thrash made a welcome revival in the mid-2000s it took on a more lurid palette, drawing on the Troma tropes of toxic mutants and beer-bonging aliens. Power Trip are bringing back alienation, angst and terror to heavy metal at a time it needs it most. Lest not forget that Power Trip started life as a hardcore band, a hardcore band raised on Napalm Death and Metallica on either side of a TDK-60 maybe, but part of a positive outlook, DIY culture that saw them tour Europe for the first time with perky straightedge behemoths Bane. Despite debut 'Manifest Decimation's metallic leanings, and their signing to Sunn O))) overlord Greg Anderson's Southern Lord label as part of his mopping up of any new band that sounded like they could soundtrack the downfall of man, Power Trip were sorely ignored by the metal masses. Nightmare Logic looks to right that wrong. It's their revenge.

But at the heart of Nightmare Logic is not an anger at being judged too harshly, it's at home where they direct all their ire. The album is unashamedly outspoken on topics that have been distant from the centre of heavy metal – and the band are not afraid of taking their music to the core of a scene they see failing its fans when it comes to message-driven music. Whether it's a tirade against fanatical Christians on 'Soul Sacrifice' or 'Crucifixation', criticising social apathy on 'Executioner's Tax' or 'Waiting To Die' or a cry for revolt on 'Firing Squad' and 'Ruination', Gale's lyrics are a call to action, backed by relentless, crushing thrash metal. This is no retro throwback, Power Trip have poured their genuine, obsessive love of early thrash, but also Cro-Mags, Prong and Black Flag to create a boiling pot of modern metal mastery. When people look back on 2017, with all its disorientation, Nightmare Logic will be remembered for being both its salve and its solution.

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Power Trip's top five metal albums: 'You could mosh your ass off to this one'

Ahead of the release of their new album, Nightmare Logic, the Texan thrash band’s Riley Gale guides us through his favorite metal releases of all time

Leeway – Desperate Measures (1991)

I would say the first big record that was a huge influence on the band in the early days was the second Leeway record, Desperate Measures. Born to Expire was really cool, but I thought Desperate Measures just had this really cool songwriting going on – it wasn’t as fast, but it was still very, very metal. It was kind of groovy, and Eddie [Sutton] had this really wild vocal style that I never even tried to capture. When we started the band, it was more like crossover by way of New York hardcore, so obviously we liked Cro-Mags and Nuclear Assault and all that stuff, but Leeway – who are from Queens, New York – and the Icemen got a lot of love. At our first show, we actually covered the intro to the [Leeway] song called Kingpin. We did that a few times; I’ve always loved that riff in that song, so we just played around with that at the first couple shows. I still love that record – to this day, I can still put it on and not get tired of it.

Sacrilege – Behind the Realms of Madness (1985)

When we started writing our first album Manifest Decimation, I remember the rest of the band getting into Sacrilege with me and Chris Ulsh. Behind the Realms of Madness was a huge one. I just thought vocally that Lynda “Tam” Simpson was so cool and sounded cooler than any thrash vocalist I had heard. Everything about that record is awesome to me; it’s got those cool, almost rock’n’roll-style riffs, but it’s very punk – you could mosh your ass off to this one.

Bolt Thrower – Those Once Loyal (2005)

I always thought Bolt Thrower had the craziest artwork. I noticed the Warhammer comparisons and was always curious about them, until one day I bought Realm of Chaos, and got into Bolt Thrower from there. But I think if I had to pick one record, I would say Those Once Loyal, the last one they did. We’re not heavily influenced by them, mostly because it’s straight-up death metal and we don’t use any double bass in our songs, but the riffs in that are just so catchy. I get The Killchain stuck in my head for days at a time. I’ve always really loved their style, and [when] we played with them once and those guys all came out to the show and said a bunch of really nice things about us afterwards. That was the coolest metal set I’ve seen in my entire life, too, because it was basically just a no-holds-barred hardcore show; there was no barricade, no security, the band wasn’t tripping about kids stage-diving or anything, so everyone was going nuts the whole time.

Anti-Cimex – Scandinavian Jawbreaker (2009)

Another one would definitely be Anti-Cimex’s Scandinavian Jawbreaker, for sure. That was an example of “punk band goes metal” done right. Some of it is kind of cheesy, but it’s still really cool – you can tell that they heard the Cro-Mags and heard some New York hardcore, and started bringing it into their music. I had also heard the earlier stuff, and Chris Ulsh and I were obsessed with trying to get the right d-beats – we have this very distinct drumming style in our band, and we take that straight off of them, for sure. There are so many things that can go wrong when you go from punk to metal too, whether there’s questionable vocals, or the riffs aren’t there, or maybe you have an overzealous drummer and there’s too much going on. I really hate the generic thrash beat, and I don’t think anybody in the band likes it, so that’s what we try to take from bands that actually had a sense of rhythm and rock’n’roll – anybody who actually gave a shit about Motörhead beyond Ace of Spades and that could actually play in the pocket. I think it’s just one of these things where I want to hear a catchy song; I guess I still have a very pop music heart, the stuff I want [to hear] is from bands that aren’t doing anything crazy experimental, just good riffs and catchy songs, and some thought-provoking lyrics.

Iron Age – The Sleeping Eye (2009)

I love that record, and Power Trip definitely wouldn’t be the band we are without Iron Age. Those guys are sort of like our older brothers, and showed me a lot of really good music, not just thrash metal but a lot of cool shit in general. That’s a record that should be in every metal fan’s collection. I think it kind of flies under the radar, but the people who love it are rabid about it, and I love that. The way Wade Allison writes his riffs is like no other guitar player that I can name, and I think it’s insane to have had a band that had a style that was so distinctly their own. You cannot tell me that Iron Age sounds like any other band, or that any other band sounds like Iron Age – you hear people try, and it doesn’t work. That’s a one-in-a-million thing, and it’s an absolutely essential listen, especially if you’re like, “Oh, I like this Texas band Power Trip, who should I listen to that would even remotely strike a chord?” – that would be the band, for sure.

Power Trip’s new album Nightmare Logic is out on Southern Lord on 24 February

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Music Features

Power trip returns, reshaped by loss, the thrash metal band finds catharsis in a familiar place.

Evan Minsker

Four years after the death of frontman Riley Gale, Power Trip surprised fans onstage at Mohawk in Austin, featuring a new vocalist. Samantha Tellez/Courtesy of the artist hide caption

Four years after the death of frontman Riley Gale, Power Trip surprised fans onstage at Mohawk in Austin, featuring a new vocalist.

The open-air venue Mohawk in Austin, Texas, has an upper deck perch that's perfect for observing the churning cyclone of bodies below. Emotions were high on Dec. 1, 2023: Texas band Fugitive was the headliner, but many in the crowd had a hunch about the promised "special guests." When Power Trip , the crossover thrash metal giants who had been missing in action for four years, finally appeared, there were tears in the pit. Bodies flew from the stage into the torrent of thrashing heads screaming every word of "Executioner's Tax (Swing of the Axe)" in blunt, ecstatic unison. It was a moment of catharsis for a scene that had been in mourning since the shocking 2020 death of the band's lead singer, Riley Gale .

Blake Ibanez, guitarist in both Fugitive and Power Trip, called the decision to bring the band back that night "testing the waters" to see how fans would react. "It was a safe way to do it, because on one hand it's, like, 'Hey, it's just a Fugitive show, and I'm having the guys come up here. We're gonna just celebrate and play the songs,' " he tells NPR on a video call. "I mean, at some point it's gotta happen." This year, Power Trip will play full-length sets at the Pomona, Calif., festival No Values (June 8), in its hometown of Dallas (July 6) and in New York City (Aug. 24).

It's an opportunity for a passionate fan base of hardcore kids and metalheads to celebrate — people who loved the band's boundless energy, how it could wield scream-along pop hooks using the heaviest, scuzziest, most abrasive metal soundscapes. Some at the Mohawk show spoke of it with near-religious reverence. "This is so cliché, but it was the most electric feeling I've felt at a show," said Erica Hotchkiss, a fan from Irving, Texas. She and some friends drove three hours south to Austin to catch the show based on a clue in the flyer: an illustration of an executioner, which is a key piece of iconography from arguably Power Trip's most beloved song . "We didn't know if they were just going to come out and make an announcement. But we knew that we had to be there."

It was fans like this who compelled Power Trip to come back. "They can see we're in it for the right reasons," Ibanez says. "We didn't make any money off Power Trip at that show. We didn't do it for that. We did it for ourselves because we miss playing these songs together, and we did it to celebrate Riley." The full shape of what's next isn't yet defined beyond this handful of shows. Here's what's certain: The band wants to perform the music they put out, across two albums and scattered singles. Gale's family wants them to play. It took years for everyone to get to this point.

The loss of a lyricist and a leader

"It was one of the worst things that happened to me in my life, because Riley was my best friend," says Brandon Gale, Riley's father.

Riley Gale died in his sleep on Aug. 24, 2020, from the toxic effects of fentanyl. He was 34. The band lost its voice and lyricist; the scene lost a leader. Power Trip built its reputation on gleefully chaotic live shows, and those shows wouldn't have been half as powerful without the longhaired figure in a camo hat barking out front about systemic injustice, corporate greed and oppression. Every word was shouted with an authoritative grizzle; he could galvanize a crowd with a single-syllable grunt. "He had very strong messages in there," Brandon Gale emphasizes. "It wasn't just yelling for the sake of yelling on stage. He wanted people to genuinely get engaged in the message."

"Riley, dude, he was just such a force on stage," says Gray Muncy, a photographer from the Dallas-Fort Worth area who estimates he captured over 40 of the band's shows (and somehow never broke a camera in the process). "I've shot so many photos of him, and it was so easy because of his emotion." Whenever Muncy gets a compliment on photos of Power Trip, he credits the chemistry between the band and its audience. "If you go to a really good hardcore show, the crowd is in the band," he said. "There's that symbiotic relationship where they feed off of each other."

Riley Gale, pictured here in 2018 at the Saturn in Birmingham, Ala., could galvanize a crowd with a single-syllable grunt. David A. Smith/Getty Images hide caption

Riley Gale, pictured here in 2018 at the Saturn in Birmingham, Ala., could galvanize a crowd with a single-syllable grunt.

In the wake of his passing, the Gales set up a 501(c)(3) charity called the Riley Gale Foundation in an effort to honor Riley's strong convictions. Brandon Gale says his son was the small guy in school who would stand up to bullies, and that he volunteered in soup kitchens as a young man. The foundation aims to be a continuation of his passions in life: It puts funds toward helping unhoused LGBTQ+ youth in the Dallas area (Riley was a committed supporter of the queer-focused outreach group Dallas Hope Charities), has named a library in his honor (he was a voracious reader) and also donates to a local dog rescue (loved animals).

Gale's friends affirm that on and off the stage, he led with empathy: He was the guy who let touring bands crash at his place, who made himself available to anyone who needed an ear. "With the fans, he wanted to be someone anybody could reach out to and talk to if they were dealing with something in their lives," says Power Trip guitarist Nick Stewart. "He was just such a comforting person when people didn't know where they stood. He felt like he could try to help everybody."

Before Power Trip began, Ibanez described Riley's previous band Balls Out as "the kings of Dallas hardcore." Gale was without a band when Ibanez, Stewart and bassist Chris Whetzel's band Reality Check was beginning to fizzle in the late 2000s. Mutual friends suggested they talk, and soon enough, Gale and Ibanez — then 21 and 16 — started bonding over hardcore bands like Cro-Mags, Breakdown and Leeway over messages on MySpace.

Power Trip's sound was a meeting point between hardcore punk and thrash metal, and in the process of creating it, the band connected with a wide swath of listeners interested in the greater sphere of heavy music. "We know we play a very subversive style of music, but we also want this to be for everyone," says drummer Chris Ulsh. "We want people to feel comfortable at our shows and have a good time. We're the type of band that can play with anyone regardless of if we're playing with indie bands, death metal bands, punk bands, whatever."

Steadily, a community of passionate fans formed around the band. Hotchkiss, who has an executioner tattoo with the caption "swing of the axe," saw the band around 10 times before attending the surprise show in Austin last year. "I'm married to my husband because we ran into each other at a Power Trip show," she said. Hotchkiss was a fan from the Dallas hardcore scene; her husband Kris was a metalhead. Previously acquaintances, they bonded instantly after she saw him in the pit: "Power Trip was our common ground." The date of that show appears on a decorative pillow in their home.

Who could step into Riley's role?

In the months after Gale passed, Ulsh said the band didn't consider or discuss the prospect of keeping the band going "for a really long time." It was 2020, and playing shows wasn't an option due to COVID-19, anyway. But as live music started to return, the band's members were talking on one of their regular FaceTime calls, and Ulsh broached the subject. "I'd never really mentioned it to anyone else and it kind of seemed like no one else had talked about it, but everyone was just like, yeah, we should," he says. "I like being a band with these guys, and we all seemed to feel the same way."

Some of the band's members had been busy with different projects, Ibanez with Fugitive and Ulsh with Quarantine. Still, the idea of these four starting a different band together didn't feel right — like it wouldn't be honest or respectful to their past together. "We put so much into this band and it just kind of seemed like it would be compounding tragedies: losing a close friend and then losing this thing that we dedicated our adult lives to," Ulsh says.

Power Trip in 2024 now includes vocalist Seth Gilmore (far left). He plans to give it his all "to honor the spirit of Riley's memory." Adam Cedillo/Courtesy of the artist hide caption

Power Trip in 2024 now includes vocalist Seth Gilmore (far left). He plans to give it his all "to honor the spirit of Riley's memory."

"If anybody's going to step into this role and sing these songs, it'd be someone from our world who has history with us and gets this whole thing and knew Riley," Ibanez says. "The pool for that? I mean, I think it's [not] overstating it to say it's incredibly small. Beyond that, who's actually willing and is capable of doing it?"

Seth Gilmore was the guy, a friend embedded in the Texas hardcore scene for as long as Power Trip existed. As the frontman of Fugitive, he had established chemistry with Ibanez. Initially, he was hesitant. "A year or so after Riley passed, before we even started Fugitive, I may have thrown it his way: 'Hey, would you want to mess around with some of these songs I've been working on, that were actually songs for the Power Trip album that never happened?' " Ibanez recalls. The implication that he'd be standing in for Gale gave him pause, so he dropped it until well after Fugitive had earned the respect of fans. "By the time I brought it up to him again in the past year, at that point he didn't really think twice about it." Gilmore confirmed Ibanez's assessment in a statement, saying he plans to give it his all "to honor the spirit of Riley's memory."

So it was Gilmore barking "Manifest Decimation" and "Hornet's Nest" to the crowd at Mohawk. Gale could never be replaced, but for fans who had just watched a Fugitive set, the consensus was that it was an organic fit. "I personally don't think there's any other person better to fit the bill than Seth," Hotchkiss said. Of course, fans had a hunch he would be the guy. "Even before everybody knew Power Trip was playing that night in Austin, I said, 'Seth, your life's about to change,' and he just smiled," Muncy says.

There was some fallout from that night, too. Brandon Gale issued a statement saying the family was not told in advance about the show and was caught by surprise. He later issued an apology, saying that while he wishes he'd gotten a heads-up from the band, he still regrets the statement. "While it came as a surprise, it was a very visceral reaction and I would certainly undo it," he says.

That one show wasn't the extent of the issues between the band and Brandon Gale, as the statements brought to light a civil lawsuit he'd filed on behalf of Riley's estate on Feb. 10, 2021, against the members of Power Trip. The suit alleged breach of fiduciary duty and claimed the band owed the Gale estate money from merchandise sales, tour revenue and royalties. On Dec. 8, one week after the surprise set in Austin, the case was settled.

"There was an unfortunate need for the litigation," Brandon Gale says. "It was critically important that the foundation received all of the money that Riley was entitled to because that's the primary source, with contributions, of how we build and grow the foundation. It's settled, and what I want to do is focus on the good stuff going forward."

"We probably don't want to comment on that," Ulsh says of the lawsuit. "That was a very difficult and s****y thing that happened that we had to go through. It's behind us now, and we just want to leave it behind us." Ibanez adds: "When something really tragic happens like that, there's a lot of emotions involved. It happens this way with a lot of similar situations, when you have the family of someone who wasn't really involved and is trying to figure everything out and get things together. Yeah, it's behind us. And as everything stands, everything's all right."

Asked about the future of the band, Brandon Gale offered his blessing: "If Power Trip goes out and they start touring again, people are going to buy their music and Riley's going to get his royalties and the foundation's going to grow. So how could we not be in favor of that?"

'We're just taking it one step at a time'

Power Trip is currently resuming rehearsals in Dallas. Ulsh says he's excited to get back to playing for wild crowds instead of repeating the same songs over and over to each other in a practice space. Ibanez is excited to feel the rush again, too: "We were gone from it for so long, and then you get up there and it's like, wow, I forgot we're part of something really special."

Though Ibanez let it slip that Power Trip had been working on a new album before Gale's death, he refused to engage further on the possibility of new music in the future. "The main focus is to play the catalog — that's what people want to hear. I don't think we're really particularly interested in moving on from where we were," Ibanez says. "We really want to honor Riley and want to honor what we've done before just moving forward. That's the main thing, to treat the whole situation with as much respect as possible. ... We're just taking it one step at a time."

While Ulsh, Ibanez and Whetzel all stayed busy in recent years with other bands, Nick Stewart hadn't been back on a stage since Power Trip's last show with Gale. "I'm a civilian — I just book shows and don't have a side project right now. So it's even more reason why I'm excited to do this," Stewart says. "It's been our lives since I graduated high school, so to be able to do it again is really special. I love performing, man; I love getting up there and giving everything I got." As he spoke, his dog began barking in the background. "Sorry, my dog's going crazy. But yeah, excited as my dog right now to get up there and play some shows."

That December night in Austin, Muncy looked around in the pit and saw how many people around him were crying. "When I first thought about them playing, I was, like, 'My friends need this; Texas needs this show, our scene needs this,' " he says. "But then once it happened, I was like, 'You know what? My friends in the band needed that show more than anybody.' Those four dudes, they sacrificed a lot to get where they are. They can't just quit."

The sound of this Dallas, Texas thrash metal band crosses over to reach fans of both hardcore punk and extreme music.

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The best album credited to Power Trip is Nightmare Logic which is ranked number 9,432 in the overall greatest album chart with a total rank score of 126.

Power Trip is ranked number 5,805 in the overall artist rankings with a total rank score of 131.

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