|
By GREG MAKI
Over the course of their first three albums, Virginia’s Lamb of God has established themselves as one of the leaders of the American metal scene. But they are a band I have never been able to embrace, mostly due to the vocals of D. Randall Blythe. Listening to him almost makes my throat hurt. On Sacrament, Lamb of God’s second Epic Records release, Blythe finally has learned to offer some variety in his attack. His familiar croak remains, but just as often he employs a ferocious roar that falls somewhere between Phil Angelo and Chimaira’s Mark Hunter. Blythe’s improved vocal stylings and the more intricate, textured playing of guitarists Willie Adler and Mark Morton make Sacrament the most accessible Lamb of God album to date.
That’s not to say the band has gone soft—far from it. This is a brutally heavy album filled with punishing riffs and rhythms. But it’s also, at times, atmospheric (see “Descending”) and the guitarists shred and solo more than they have in the past. Now that they have more than riffs and breakdowns in their repertoire, the band is able provide a stronger contrast within songs, making the heavy parts seem even heavier. There’s even a hint of melody in the choruses of “Pathetic,” “Forgotten (Lost Angels)” and “Requiem.” Other songs aim simply to pummel the listener into submission. None does that better than “Redneck,” an anthem that should whip mosh pits into a frenzy for years to come, and the unrelenting closer, “Beating on Death’s Door.” Blythe’s vocals probably always will be an acquired taste, but you have to admire and respect a band that refuses to compromise its abrasive sound even after tasting major label success.
|
