When they could have receded behind a blanket of fame, Lamb of God return serious, prophetic and as groovy as ever with their latest album.
The gods of groove metal have returned. Since their 2024 EP Omens, Lamb of God has gone through quite a bit. They’ve given us an incredible sneak peek into their new album, some kickass interviews and, most importantly, a rebrand. I don’t agree with a lot of legacy institutions needing a rebrand to stay relevant. Definitely not a metal band of LOG’s calibre that has had the subcultural footprint it has had. This shifts away not only from the extremely requited rage of their 2022 collection to a periscope vision of where we’re going. This one is called Into Oblivion.
A vivid history
Look, let’s be transparent. Randy Blythe has had his fair share of controversy in the 2010s. Such an incident is definitely to change a person, especially to the bloodcurdling, vocal, screaming prophet of music he has become. Since I went to college and experienced VII; Sturm und Drang, I was surprised with the Burn the Priest record. Despite knowing they were called this, there were obvious reasons an album like this came in 2018. There were going to be changes.
I would like to present my evident bias here to Chris Adler’s drumming technique. Not only did he always complement Mark Morton’s delectable dark riffs and reign on rhythm, but he also added his own flavour to how he drummed. It wasn’t a display of stamina with the double bass; he played recognisable fills people would sing when he played. A force that introduced so many to drumming.
Finding a new groove
So when Art Cruz played on the first album, I personally felt a lot of the riffs were written from Adler’s time. Art wasn’t a crucial gear in how the songs were being composed. That’s why Omens felt so full again for me. It was the band perhaps composing as the beastly whole they are, and they were capturing rage like no other mainstream metal groove act.
As usual, listening to Willie Adler and Mark Morton bring the rhythm section is more nostalgic than anything else. Guys, they made Sacrament and Ashes of the Wake, not to mention 4 other intense albums. Into Oblivion has all that punch of an opening song, and as a single – which is why fans started flying towards subreddits to discuss when their favourite groove metal band is going to return with new music. A decent wait, I’d say. Don’t you think, TOOL fans? The middle section riff part? We’re so back for headbanging paradise.
Where this record stands
We’re now seeing political premonitions come true while listening to Lamb of God. Isn’t that some place to be? Parasocial Christ has some of Blythe’s most relevant vocals and lyrical depth. Now, whether you’re someone who involves yourself in politics or not, you cannot ignore what is being said. Especially not when you can clearly see what is being done. Morton ensures his riffs give that dark veil the lyrical endeavours require. The meaty bass of Sepsis will guide you in next; however, I did obsess over this one when it was released as a single. Like a quality mid-tempo riff, it makes you dial into the filth of the guitar and Randy’s blunt and spoken-word vocals. Oh, and yes, the timestamp is 1:50, turn room lights to red and let your hair loose. You’ll thank yourself for groove metal therapy.
How the rhythm leads
I’m really enjoying the range on this album, a narrative which had a pause for me when their self-titled 2020 album was released. From the tempo changes to vocal styles and rhythm parts having a lot of explicit movement to them, the band have found their footing to be at the Mt Rushmore of this genre they helped pioneer. The Killing Floor is where I’m really starting to appreciate Art Cruz’s chops, giving that signature solo space where a killer riff breathes and the drums accompany a brutal rhythm cut. As for time signatures, let’s take a beat at 2:05. This is where your understanding of how brilliant the use of a single note can be in metal matters. It isn’t about flashy diversions and a rapid display of the honey-trapping shred. Morton on his axe, cutting the silence with a low E-string blade. Damn man.
Vocals in a new light
If you ever did doubt Cruz as a choice, this album should lay it to rest. Not apologising. From his time in the deathcore band Winds of Plague, there was something in the groove he was chasing. It’s clear to see he’s found that coagulating chemistry with these offbeat lads. A song like The Killing Floor had me almost dislocate my neck due to acute spondylitis. El Vacio might come in with a slow, melodic opening but sear itself as one of their most tasteful songs in a decade. Lamb of God has a singer singing the opening now, for however short a period he pleases. I would easily tack this on to be something the crowd totally takes over while singing.
St. Catherine’s Wheel teaches you that it hasn’t been time yet when drum fills don’t open the song. This is where the riff is good; it needs an announcement through a bugle horn. Though I wasn’t a fan of this opening riff, I loved what happened in the verse. I mean, Mark Morton taught me how to drop D and give some of the most detailed, melodic riff openings in my 200 bpm tutelage. He knows what he’s doing.
More than the bassline
I’ve loved John Campbell really holding the fort on this album. The bass tone is unlike any other album; it comes in heavier, darker and deeper. To appreciate the riffs, he takes control of the rhythm for moments at a time. After the single Blunt Force Blues, which was another incredible track to have as a single, we moved to Bully. The vibrato bends and vocals might be splendid – but they’ve already given us too much good stuff in the opening to give us a ‘hookless’ metal song. Which is where the middle of the song comes in. You better brace for spinal bruising.
The groove shall reign
While we close in with A Thousand Years and Devise/Destroy, I think we have an anthem in our hands. Randy becoming more comfortable with clean vocals and suddenly shifting the gear to the sinister barks and screams changes the textures of the songs quite a bit. From the range Lamb of God have explored to really cueing in on some legendary chemistry, this is the human-led metal you need, especially when you seem to be flailing directionless. At least I have these tunes, as the world turns towards oblivion.
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