Upon its release in 1985, Black Flag’s Loose Nut showed the band had evolved from their hardcore punk roots into a band that simultaneously experimented with sludge metal and alternative rock. This progression, blending aggressive energy with darker, slower tempos, and more introspective lyrics, proved to be as compelling as anything that came before for Loose Nut is a record that, despite being divisive amongst fans, is a captivating release that shows Black Flag’s willingness to evolve and push their musical boundaries.

Featuring Henry Rollins on vocals, Greg Ginn on guitar, Kira Roessler on bass, and Bill Stevenson on drums, Loose Nut is a polarising record that some will hail as an underrated gem, while others will lament the departure from their earlier sound. For this music lover, I consider Loose Nut the former and a true masterpiece as well as their strongest release.

Part of the appeal is the incredible album artwork. While Punk Rock is often associated with being a little rough around the edges, and their other album covers reflect this, with the slight shift in styling and somewhat higher production values, the Loose Nut artwork is utterly perfect and offers listeners the perfect visual accompaniment.

Sonically, Loose Nut is superb. The band’s rawness is still present and, despite a stylistic muddy approach, the mix is magnificent as every musical element can be heard clearly while ensuring the attitude-focused delivery remains front and centre. While not an Apple Digital Master, the CD-quality Lossless Apple Music stream is warm and enveloping as the mastering has been done so well you’ll feel compelled to turn the volume up for Loose Nut deserves to be heard at ear-bleeding volumes. That said, it remains thoroughly pleasing at lower volume levels as well; an indication of a well-recorded, mixed, and mastered record.

Loose Nut kicks off the album with a heavy riff that straddles punk and metal. Rollins’ snarling delivery exudes frustration while the overall styling of the song sets the brooding tone for the album, encapsulating the shift towards a darker, and more melody-focused, styling than Black Flag had been previously known for.

Bastard In Love is a toe-tapping head-bopper with an incredibly appealing melodic musical styling. However, it is Rollins’ vocal delivery that is a standout and amongst the very best of his career, for his trademark rawness and intensity are maintained throughout.

Annihilate This Week is frenetic and harks back to Black Flag’s origins as it’s the most punk-leaning tune on the album. Yes, the tempo remains slow and methodical, but it’s songs such as Annihilate This Week that make Loose Nut such an exceptional album experience.

Best One Yet is a raw, riff-heavy anthem, that blends punk fury with a metal edge. The relentless energy makes it one of the album’s standout tracks but it’s the rough around the edges production style that makes it truly exceptional.

Modern Man is a sonic masterpiece, especially with its opening and closing bookends. Ginn’s guitar work is exceptional and the atmosphere created will stay with you long after the song has finished as Modern Man is amongst the most memorable songs from the record. Rollins’ vocal delivery is perfect as the slower tempo and minimalist arrangement allow him to belt out the lyrics with brutal honesty that tackles themes of alienation and social expectations.

This Is Good is what bass guitar dreams are made of for its musical styling is dark, brooding, and ultimately dense. The result is that when you add the sludgy guitar riffs, rhythmic backing, and Rollins’ raw and unrelenting vocal performance, you get an emotionally charged song that is one of the best from Loose Nut.

I'm The One stands out for its raw simplicity and punk styling. While not as domineering as some of the other songs, Ginn’s blistering guitar lines keep the momentum high as the rest of the band and Rollins’ deliver a thoroughly enjoyable album-only tune.

Sinking is another sonic masterpiece, not unlike that of Modern Man for it’s slow, methodical, and ultimately atmospheric. Roessler’s basslines are particularly prominent here, as are Ginn’s licks, weaving through the song like an undercurrent of dread. Add to that Rollins’ anguished vocal delivery, and Stevenson’s melodic drumming, and you’ve got a sonically sombre number that is amongst the greatest songs Black Flag ever recorded.

Now She's Black is a perfect closing track for it’s one of the album’s most intense ensuring that you’ll feel just as compelled to listen to the record again as well as sitting in quiet contemplation of the music you’ve just heard. It’s also Stevenson’s greatest performance on the record as his frantic pounding drums create the perfect backdrop for the song.

Overall, Loose Nut stands as a testament to Black Flag’s willingness to push their musical boundaries, even at the risk of alienating some fans. It isn’t, however, so far removed from their earlier releases that it should be detrimental to most modern audiences but it most certainly paved the way for other bands, such as AFI, to follow. Ultimately, Loose Nut is the greatest release of their career and one of the best albums from the mid-80s.