The band's last two albums both featured a pair of guest vocalists, too, which added a different spin to some of the songs. There are no guests here, and Omens is very much Lamb of God at their most honed. There is very little fat in the songwriting this time, and it is one of the band's most immediate releases as a result. It opens with lead single Nevermore, a powerful track which, although sounding like Lamb of God, takes the odd deviation. The opening riff is packed full of groove, despite the odd Gojira-esque chord choice to create an unsettling tone, and it, unusually, introduces Blythe through spoken word. His first few lines are delivered in this way - before he reverts to his traditional screams as the verse kicks on proper. His voice sounds as good as ever here, and the pre-chorus in particular features some particularly nasty vocal sounds - whilst the chorus is big and anthemic with some hooky vocal lines and groovy riffs. The second verse features some clean vocals in place of the spoken word of the song's opening, but they are used sparingly. I like Blythe's clean vocals, but I think that it is wise that he only brings them out every so often. They work really well here, though, and a rare guitar solo later in the track allows Morton a chance to showcase his bluesy playing - which is less shreddy than would generally be expected in metal. If Nevermore allowed itself a few twists and turns, then Vanishing is very much Lamb of God 101. It is the sort of anthemic groove metal with which the band made their name, and the riffing throughout is powerful - building from a distant guitar opening that explodes thanks to a thrashy beat from drummer Art Cruz. The pace is generally pretty fast here, showcasing the band's thrashy side, although the song does slow down as it approaches the chorus. The pre-chorus has a strong southern groove, whilst the actual chorus itself is simple - with Blythe bellowing the repeated song title with real venom. There is no solo this time, but a great riff-led breakdown showcases some brief moments of harmony - injecting a little of the Gothenburg sound into the track. To the Grave is similarly anthemic, but the thrashy side of the band is generally put to bed here - with the song instead focusing on Pantera-esque grooves throughout. The opening moments are fast, but generally the song is a powerful mid-paced anthem. Cruz's drumming conjures up the band's trademark patterns and feel with ease, whilst bass-led sections allow the spotlight to be shone on the playing of John Campbell. Parts of the verses allow the bass to briefly take the lead, and this allows the guitar riffs to hit much harder when they soon come crashing in. Tortured guitar leads are also a big part of the song, especially towards the end. There is no solo, but the latter part of the song is backed by some mournful leads - which accentuate Blythe's voice nicely - giving the track a different edge.
Ditch ups the pace again, and it somewhat reminds me of Vanishing thanks to its focus on fat riffing and a thrash feel. There are mid-paced sections here that focus on grooves, particularly the chorus which is another that is easy to latch onto, but generally the song is propelled by Cruz's relentless double bass drumming and the Bay Area riffing that dominates the frantic verses. In many ways, this is another song that is pure Lamb of God. They have written a number of songs like this over the years, but it is so memorable that the familiarity does not matter. There are definite shades of Now You've Got Something to Die For here, and there are some drum fills that remind me of that song's intro. Some of the strange guitar leads also recall that song, and it definitely feels like a bit of a touchstone - even if Ditch overall is faster and more of a thrash number. The album's title track follows, and it is one of the most instant cuts here for me. It is a pulverising mid-paced track with real classic rock swagger - and it reminds me somewhat of songs like Redneck that generally rely on big hooks and an old-school attitude rather than any real tricks. Cruz's drumming throughout is probably some of the simplest that he has ever laid down, and there is little of his usual double bass playing, which only helps to enhance the classic rock vibe of the piece. The riffing and the simple drumming is enough to create the huge grooves here - whilst the chorus features some big gang vocals that will ensure it becomes a setlist staple going forward. It does speed up somewhat as it approaches the end, but it still generally stays old-school sounding - although there is a brief moment of double bass drumming, which hits hard thanks to how sparingly it been used this time around. Gomorrah is another mid-paced track, but the classic rock vibes of the previous song have been discarded this time for a more traditional approach. Songs like Omerta are referenced here, and the track is another crawling, heavy, slow-burner like the older classic. Tracks like this are often some of the heaviest in the band's catalogue, and there are strong doom vibes throughout - especially during the verses which really do creep along. There is also more of a focus on lead guitar here. The verses have some subtle leads throughout, but a breakdown section that does up the intensity somewhat features some screeching leads which help the song to stand out. This focus on leads, the general slower pace, and another chorus that is packed full of hooks ensure that the song is another standout moment here. Ill Designs feels much more overtly-riffy, which is a strange thing to say given the band's general approach, but the song seems to feature a lot more riffs than is typical - so, as such, there is always something new to hear around the corner. It also ups the pace after a few slower pieces, and the driving nature of the song harks back to the raw sounds and overall attitude of 2009's Wrath. It is very much a piece for the guitarists, and the vocal hooks are perhaps less hooky here. That is okay, though, as the riffs very much hold the interest - and a shredded guitar solo allows Morton another chance to shine. The band do not include solos too often, but when they do they always hit the spot - and it is fitting that one was included in this riff-fest.
Grayscale is another song that places a lot of focus on the guitar playing, but this time it is balanced more strongly with vocal hooks. It is a song that very much represents everything that is good about the classic Lamb of God sound, and it is another that has the potential to become a setlist staple due to its huge chorus. I can definitely see a crowd shouting the chorus lyrics back at Blythe, whilst the opening guitar lead is distinct, full of energy, yet also melodic. It is one of those moments that will no doubt send a crowd wild when it kicks in - and the grooves throughout just make the song sound huge. There are lots of songs here that distil the band's core sound perfectly, but this one perhaps feels the most true to the albums of the early-to-mid 2000s. There are moments of real heaviness, with Cruz employing patterns akin to blast beats at times, too, and these sections help to break up the snaking, mid-paced riffing without compromising the overall anthemic nature that the band successfully whip up. Denial Mechanism then turns the clock back to the early days of the band, as the hardcore punk influence that has always crept into their songwriting is back here in a big way. The song is less than three minutes long, and it is easily the fastest and most abrasive thing here. There are no grooves at all, really, as the song just focuses on speed. Parts of the song sound thrashy, but on the whole it is just a punk track - with Blythe's screams rising above everything perfectly. There is little else that can said about the song really, as it is one that comes and goes quickly - but it makes its mark thanks to its brutal attitude and brief shredded guitar solo. Old-school Lamb of God fans will really love the track, and it is great to see the band harking back to their earliest influences for a couple of minutes. The album then comes to a close with September Song, which is arguably the antithesis to Denial Mechanism. It opens in a very organic nature, with Cruz counting the band in, before a bluesy clean guitar melody takes over for a minute or so. The opening is not as chiming as something like Vigil, but the bluesy melodies have a similar overall effect - and they return as a pre-chorus later once the song proper kicks in. The other song that September Song reminds me a bit of is King Me. That song featured an epic arrangement and strings - and this track is similar. The chorus is bulked out by a soaring orchestral arrangement, but it has been deployed in a way that does not dominate. This is not a symphonic metal track, but the strings add real depth and a grandness to the chorus - and it sits perfectly alongside the band's fat, mid-paced riffing. It is a song that allows the band to showcase a somewhat progressive side to their songwriting - and it is great that they are still willing to do so despite them not looking too fondly on their more experimental period. The song is one of the album's best thanks to this approach, and it ends things on a real high. I included the band's self-titled album in my Albums of 2020 list, and I think that Omens is overall a stronger album. Every listen reveals something new, and I love that there is a subtle diversity here whilst the band's core sound is very much retained. In time I feel that Omens will become one of my favourite Lamb of God albums, and I would not be surprised to see it appear in my Albums of the Year list come December, either, given how powerful all of the songs here are.
The album was released on 7th October 2022 via Nuclear Blast Records. Below is the band's promotional video for Nevermore.
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