Though their path wasn’t easy, groove metal outfit Lamb Of God have carved out a reputation as one of the definitive artists who emerged from the new wave of American heavy metal movement that swept nü-metal out the door back in early 2000s. While many of their then acclaimed peers have since faltered or fallen, these Richmond natives have remained remarkably consistent.
Now ten albums in, the ferocity and determination that propelled their earlier outings had admittedly begun to flicker a bit. Turns out, all they needed was the right fuel. To put it bluntly, “Into Oblivion” is a raging affair. Like many a metal band before them, youth, substance abuse and the perils of nonstop touring colored their earlier works. Unlike so many of their peers now though, this record doesn’t struggle to recapture those wayward times, or chase some late-career radio success.
While still reactionary in a sense, “Into Oblivion” is largely a conduit for the bitterness and exasperation instilled by the injustices and failings of modern society we currently face. A fearsome plea to see beyond the rage-bait and tribalism, and reconnect with humanity in defiance of those that would divide and control you for their own personal gain.
Vocalist Randy Blythe has long made his stance clear on issues of this ilk throughout the band’s discography. But there’s a level of urgency and righteousness present on “Into Oblivion” that very much feels like a proverbial line in the sand has been drawn.
No surprise then that Blythe feels inherently venomous when railing against political figures, demagogues, warmongers, manipulators, corruption and more. The weathered wisdom his 55 years on this earth have provided him also allow him to now operate from a near academic level of confidence.
While the record opens with blistering condemnations of societal ills, political movements, algorithms and more, he and his bandmates don’t just jack the thermostat to a hellish level of discomfort and leave it there. They also aren’t just raging against the machine.
“Sepsis“, with its sinewy standout bassline and swampy nature feels like a updated nod to some acidic 90s sludge. Blythe adapts his approach to the stalking pace, becoming part storyteller, part doomsday prophet as the song lumbers on.
“El Vacio” is a headlong dive into the melodicism Lamb Of God have seemingly been striving towards for years now. A hauntingly lonesome ballad that mourns the loss of gonzo journalist Hunter S. Thompson and GWAR frontman Dave Brockie, it may fall short of becoming Lamb Of God‘s “Fade To Black“, but it certainly could fit the bill as their own “Rooster“.
“St. Catharine’s Wheel” possesses the most traditional-feeling Lamb Of God hallmarks on this record. Laced with gnawing riffery and a ferocious demeanor, it also boasts a breakdown befitting of a placement on “As The Palaces Burn“.
With Blythe freely admitting that roughly 75% of this record is a response to the failing social contract that once held America together for better or for worse, his conviction here sounds as scathing as ever. In fact, after somewhat of a slump over the past two records that found Lamb Of God spinning their wheels a bit, “Into Oblivion” at times is like throwing white phosphorous in the furnace instead of wood.
Fans who don’t adhere to Blythe‘s political stances can rest easy to an extent. You won’t be beaten over the head with hooky catchphrases and direct takedowns. He has shadowed the targets of his lyrical contempt and malice in a sometimes dangerously thin veil of allegory. But rest assured, should you delve deeper, it’s not hard to figure out where his ire is directed.
“Into Oblivion“, with all its writhing ominousness, condemnation and rallying cries to take a stand, finds Lamb Of God refreshingly lased focused. There are countless buzzing riffs with enough serration to leave lasting marks on their setlists.
The often understated bass playing of John Campbell is given more than a few pronounced standout moments, and Art Cruz‘s pummeling drums relentlessly unleash flurries of booming haymakers to the body, rather than glancing blows to the head.
It’s often been said that bad times make for good music. With war, cruelty, hatred and apathy being piped into our screens on a daily basis, “Into Oblivion” may be indisputable proof of that. Not only a ferocious return to form, it also makes for a fitting soundtrack for the rage-bait era
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