Album Review: Lamb Of God, Into Oblivion

By Justin Bauer, OOTB Publications

Lamb of God has nothing to prove. Their contributions to metal music put them on the map at the turn of the century, and since then, they’ve delivered excellent records with the kind of live performances that back up the consistent top-shelf productions.

Into Oblivion (Century Media/Epic) is their tenth album and is the kind of record that gets made when an artist has the freedom to mix things up.

We’re offered ten songs that showcase a solid range—delivering the hard hitting metal next to tracks that go in unexpected directions.

As a longtime fan, I was exceptionally pleased to hear what Lamb Of God has been up to.

The opening track doubles as the album title. “Into Oblivion” opens with this electronic sequencer behind a jagged guitar riff that doesn’t hesitate to take things too far. This song hits so hard; it might be a new personal favorite as it became this glaring reminder why I got into this band in the first place.

“Parasocial Christ” flies off the handle in this uptempo panic attack. If the opening song served to hit as hard as possible, the second song on the record is what’s dragging you away.

The third song is the first taste of that unique direction. That bit of ‘something new’ is what I appreciate about bands who’ve been around as long as Lamb Og God has.

“Sepsis” has this riff that’s defined by a slow and sludgy distortion. There’s a nod in here towards the local scene where Lamb Of God has roots…a shining example of this punk ethos, making the different kinds of music they want to make, and it’s so good.

“The Killing Floor” opens with unexpected sounds, but once the verse comes in, we’re knee deep in trademarked chaos. This feels like an anthem and a sure-in for a touring set list. The bridge offers the moment most appropriate for a mosh pit.

“El Vacio” opens with clean guitar. The atmosphere of the verse is cool, slow, and moody. A rhythmic guitar play that borders on the sound of Tool’s Adam Jones serves as another unique touch that caused more than one double take from me. The chorus takes us to something like metal music, but feels refined and mature. This song satisfies the itch of exploring that range beyond initial expectations.

The AM radio sound brings in the beginning of “St. Catherine’s Wheel.” Once the effect is lifted, we’re taken on a ride with this driving rhythm—regarding rhythm, there’s a playful bounce in the verse and pummeling chaos of the chorus. This song offers another perfect opportunity to get in the pit. A guitar solo sits so tastefully in the mix, and the ending goes so hard… this is a fun one.

“Blunt Force Blues” has a throwback feel in terms of sound and structure. Another nod to their roots that has intricate drums that gets capped off with machine gun double kicks. It presents the musicality of a finely tuned machine. There’s precision and soul here.

“Bully” continues with the aggression, as the song goes start to finish as hard as possible.

The sludge sounding guitars and a touch of cowbell start off “A Thousand Years,” before distorted guitars carry this thing to hell. The vocal approach caught my ear, as did the guitars. This song is full of guitar hooks that I want to hear again and again. Another tasteful guitar solo sits perfectly in the mix. A song worthy of multiple listens.

“Devise/Destroy” opens with clean guitars. Feels sentimental in a fashion that’s bittersweet. This lasts until the collapse, and the sounds of heavy metal falling from the sky overtake the horizon until the conclusion of the song.

Into Oblivion is a fantastic record. It’s tight, aggressive, angry, and embodies everything I love about Lamb Of God while offering new directions that satisfy. This record is the perfect catalyst for a touring cycle that isn’t to be missed.

Tracklisting

1. Into Oblivion

2. Parasocial Christ

3. Sepsis

4. The Killing Floor

5. El Vacío

6. St. Catherine’s Wheel

7. Blunt Force Blues

8. Bully

9. A Thousand Years

10. Devise/Destroy

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