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The Beach Boys. Clean vocals are actually incorporated at times and they even get Chino of Deftones fame to guest on a track!!! Does it work? Yes it does and it really makes this album stand out from previous releases in a good way. There are still plenty of brutal tracks on this one, but it is refreshing to see Lamb of God experimenting. This one is recommended. I will be using it for personal consumption. This release has extra tracks on the disc too.
Good deal. Desolation thunders in with Chris Adler's powerhouse drumming, remaining one of the record's high points and a great moment in the band's career, followed by another memorable track, Ghost Walking. A fast-paced hardcore feel permeates Guilty and Cheated, whilst The Number Six remains a tad overlong, but features some interestingly quiet breaks during the middle. Insurrection is one of the more memorable tracks towards the back end of the album, which houses some filler, at least by their standards, but breaking the flow is a calming instrumental, Barbarosa, not to mention a truly oceansize finale with closer King Me, containing equal parts symphonies and dramatic riffage.
Okay, I'm just gonna get this off my chest because it needs to be said, no matter how harsh it may sound. I cannot understand the fascination many people seem to find with the insanely popular opening track. Walk With Me In Hell, as a pretty cool title to start with, is musically nothing more than a boring, repetitive lull, followed by the very unremarkable, poorly-titled Again We Rise.
Don't even get me started on Redneck, so let's wisely move on from that turgid, overplayed wreck, shall we? Now, if you haven't turned off the stereo by this point, well done, because the album actually starts to show some promise with a few decent cuts, like Pathetic and Descending. The record's second half is actually pretty strong, mainly due to the versatility of centrepiece Blacken The Cursed Sun, or the adjoining one-two throttle of Forgotten Lost Angels and Requiem.
A very strong moment, Beating On Death's Door, closes the album, making it easy to forgive the band for giving us a weak beginning to an otherwise decent offering, which was very nearly put in last place to begin with! The first half of this album is killer, but for some reason the second doesn't do much for me, even though there's nothing wrong with the music. The first two tracks, Still Echoes and Erase This, are good, fairly solid numbers, the latter of which features an almost talking guitar lead, but the record really starts to shift into gear with the highly personal , one of the cuts based on Randy's imprisonment following the manslaughter charges.
My personal highlight is Embers, a brilliant song that features ethereal, spaced vocals from Deftones frontman, Chino Moreno. Footprints is a decent cut, then comes the midpoint Overlord, which is notable for being the band's only song to feature an extensive amount of clean vocals.
Anthropoid is a great highlight, based on Reinhard Heydrich, followed by Engage The Fear Machine, which concerns the dangers of media tactics. Their opus was the first LoG album since Blythe was imprisoned in the Czech Republic while he was fighting manslaughter charges stemming from a fan who died at one of their shows, and the record wades through the harrowing, life-altering experiences Blythe endured in that process.
It may not be the best LoG record to crank during a workout, but Blythe's lyrics have never been more incisive. Lamb of God's release marked the first major lineup change within the band in 20 years.
Their beastly drummer Chris Adler had left the group in , and his absence behind the kit posed a formidable threat to destabilize the band's signature sound. Fortunately, the group prevailed, and their self-titled is triumphant return to the pummeling grooves and weaponized riffs of their mid-aughts material. New drummer Art Cruz formerly of Winds of Plague can definitely hang, but it's the athletic shredding on "Checkmate" and "New Colossal Hate" that shine through the most.
New American Gospel is when they became Lamb of God — literally. The band's powerhouse was their first album since dropping the Burn the Priest moniker, and it's the one that welcomed lead guitarist Willie Adler into the fold. Fusing the rhythmic shove of Pantera and Meshuggah with the dangerous energy of grindcore, the record is a violent car crash between groove-metal and death metal that's simply excoriating.
It gets a little samey by its second half, but none of the bands who've attained LoG's level of popularity have a record as heavy as this in their back catalog. New American Gospel got the metal world's ears to perk up, and As the Palaces Burn made sure they stayed there. Everything improved on the band's record — the lead guitarwork became more intricate, the grooves got tighter and Blythe chiseled his garbled growls into snarling barks that cut through the mix like flaming spears.
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