Lamb of God – Lamb of God Album Review

What’s up guys! It’s good to be back doing reviews! Took a couple months off while work exploded. Before a historic pandemic started ravaging the country’s economy, I might’ve followed that up with some sort of whiny complaint, but I think I speak for all the working folk when I say we’re incredibly grateful to have jobs right now.

Anyway, five years after the career high that was 2015’s Sturm und Drang, Virginia Metal powerhouses Lamb of God are back with an album that they were too lazy to title. I guess half a decade wasn’t enough time to come up with something catchy. Maybe former drummer Chris Adler – who’s been conspicuously replaced by Art Cruz (Prong, Winds of Plague) on this one – came up with all the other album titles?

I was definitely curious to hear an LP that received such an immediately mixed reaction from fans. As my viewers and readers know by now, I prefer to sit with a new release for a while and reserve judgment, so that was all just noise to me. But were they right? Or do I get to go against the grain here?

Check out the full review below:

Discography Ranking: Lamb of God

Happy Friday guys! GOD, I’m so happy to finally release this video. See what I did there? No? It’s ok, neither do I most of the time.

Lamb of God has such a fascinating catalogue. They are the PERFECT band for a Discography Ranking because across all seven of their albums, there not a single undisputed “dud” nor “masterpiece”, which lends itself to incredibly rich discussion and debate, and a massive range of opinions.

I definitely make some controversial picks here, and I can’t wait to see what people think. If you watch this, do me a favor and leave a comment below the video with YOUR ranking of the band’s discography! Above all, I hope Lamb of God fans really enjoy this celebration of one of Modern Metal’s elite:

Megadeth’s “Dystopia” Single

Yesterday Megadeth released the title track and single number three from their upcoming fifteenth (!) studio album Dystopia, due out January 22nd.

Interestingly enough, after the near-universal panning that 2013’s Supercollider received from fans and critics alike, Megadeth have once again found themselves in the underdog position with album number fifteen, one in which they have tended to thrive throughout their career. And with the three singles unveiled thus far, the band is certainly showing a lot of promise. First the thrashy “Fatal Illusion” (which I wrote about here) and “The Threat is Real”, and now “Dystopia”.

To my ears, “Dystopia” is the strongest of all three, but perhaps most notably, it’s the most tuneful. See there’s a period in Megadeth’s career – the one metalheads tirelessly and (mostly unjustly) rail against – in which their brand of metal became more song-centric. It began with Countdown to Extinction and progressed through Youthanasia and Cryptic Writings (both of which I earn minority status by holding in high esteem), before crashing and burning with Risk. But here’s the catch: despite much of the Thrash being absent in Megadeth’s mid-90s output, Mustaine’s songwriting was exceptional. The well-crafted hooks – whether on vocals or guitar, mind you – are light years beyond the capacities of most bands of the Thrash persuasion. But with the breakneck pace and sneering confrontation of Megadeth’s early years missing, it’s understandable why these albums didn’t fare too well. In reality, what truly needs to happen for a stellar Megadeth release is a fusion of the aforementioned song construction with balls-to-the-wall, guitar-driven speed metal. And “Dystopia” might be the closest we’ve gotten to a sonic manifestation of this dream in quite some time.

The track opens with a mid-tempo groove and a simplistic, ear candy guitar melody a la Youthanasia. From there, hasty yet modestly concise verses allow the guitars to take center stage, the long solo section after the second chorus being Exhibit A. In general, “Dystopia” is peppered with the most exciting guitar solos that have been on a Megadeth track in God knows how long. Let’s be honest, Kiko Loureiro SMOKES every Megadeth guitarist since Marty Friedman. I don’t care what you think. Like what the actual fuck is he doing with those octaves at 1:43??? I really hope an official songbook comes out for Dystopia so I can give some of these mind-blowing licks a spin.

But “Hangar 18”-style extended leads aside, Mustaine and Co. still bring the riffs. The winding groove after the solo section is classic Megadeth before the song is given a dramatic send off with an dopamine-pumping dual guitar harmony that crescendos beautifully to wrap everything up.

A Megadeth diehard, I’ve been in a state of “eager anticipation” since the announcement of Dystopia back in October. But the title track, which balances out the energy of “Fatal Illusion” and “The Threat Is Real” perfectly – clueing us in to what has the potential to be an excellent, well-rounded release – has allowed me to say I’m “excited” now for reasons other than just being a fucking stan. January 22nd, I’m ready for you!

UPDATE: Full Dystopia review here

Megadeth’s “Fatal Illusion” Single

In the Megadeth world, the last year or so has been a PR whirlwind. There was the failed reunion of the Rust in Peace lineup, the sudden departure of guitarist Chris Broderick and drummer Shawn Drover, the exciting replacement drummer no one saw coming in Lamb of God’s Chris Adler, and a whole lot of sensationalized Blabbermouth headlines. In all fairness, it’s publicity like this that keeps a band relevant after releasing an album that was truly a skid mark on their legendary discography. Being the Megadeth diehard that I am, Super Collider remains the only album by the band that I cannot listen to (yep, Risk included – without Megadeth’s name on it, there’s some decent alternative rock hidden in there). The only thing that could’ve possibly ignited my interest in Super Collider’s follow-up was if the band recruited one of my favorite drummers and potentially my favorite guitar player of all-time…. wait a second, those would be Megadeth’s brand new members, the aforementioned Chris Adler and Angra’s Kiko Loureiro! Based on this alone, Megadeth’s instant jump in my mind from “washed up” to “I can’t wait for their new album” makes me feel like such a wishy washy hypocrite.

This past Thursday, Megadeth’s fifteenth album became public knowledge, with the title, release date, track list, and some truly awesome cover art all revealed, along with the premiere of first single “Fatal Illusion”. The album will be called Dystopia, and won’t be out until January 22nd of next year. I’m not sure whether to be charmed by Universal’s traditional album roll out or concerned by such a resistance to industry change. Either way, we now have the first Megadeth song since June 2013, and I couldn’t have been more curious to hear it.

“Fatal Illusion” is – at a minimum– the best Megadeth song since 2009’s Endgame. After a well-executed intro that allows the song to gradually build, we’re greeted by one of the meatiest bass tones I have ever heard, as David Ellefson introduces the main riff “Peace Sells” style. After that, it’s everything that makes Megadeth great, and everything Super Collider was missing. The song’s powerful main riff is amplified by Chris Adler’s hard-hitting double bass, which segues into a catchy verse groove straight out of the Rust in Peace playbook. Kiko Loureiro and Dave Mustaine sprinkle some indulgent lead playing throughout, adding some spice to the song’s structure. By the time the band erupts into the breakneck bridge section, “Fatal Illusion” has already sold itself. Megadeth are not fucking around this time.

Sonically, “Fatal Illusion” is along the lines of United Abominations and Endgame – the production strikes a successful balance between polish and edge. In addition to Ellefson’s stunning bass tone, the guitars and drums sound like Megadeth again, as opposed to the muddiness of Super Collider and its predecessor, Th1rt3en. Perhaps the biggest critical headache on Super Collider was Dave Mustaine’s lazy, painfully corny lyrical content, but “Fatal Illusion” makes significant strides in this department, despite the backseat role lyrics often assume in Megadeth. If you ask me, “It’s a fatal illusion that evil never dies” is pretty fucking badass.

With “Fatal Illusion”, Megadeth have made quite the statement. Super Collider is already disappearing from the rear view mirror, and the band’s new lineup gives the metal community – young and old – something to be truly excited about. I’m eagerly anticipating Dystopia’s January 22nd release. Well, either that or its inevitable leak.