Lamb Of God (USA)

[Horex]

Lamb Of God - VII - Sturm Und Drang (2015)













Year : 2015
Style : Groove Metal , Metalcore
Country : United States
Audio : 320 kbps + all scans + Video
Size : 141 mb

Bio:

Lamb of God (sometimes abbreviated as LoG)is an American heavy metal band from Richmond, Virginia. Formed in 1994 (as Burn the Priest), the group consists of vocalist Randy Blythe, guitarists Mark Morton and Willie Adler, bassist John Campbell, and drummer Chris Adler. The band are considered a significant member of the New Wave of American Heavy Metal movement.Since their formation, Lamb of God has released eight studio albums (including one released as "Burn the Priest"), one live album, one compilation album and three DVDs. The band's cumulative sales equal almost two million in the United States. In 2010 and 2011 the band received Grammy nominations for songs from their 2009 album Wrath. Lamb of God has toured with the Ozzfest twice and appeared on Slayer's The Unholy Alliance Tour in 2006. Other appearances include Download Festival and Sonisphere Festival in the UK, Soundwave Festival, Mayhem Festival 2010 and Gigantour. From 2008 to 2010 they toured as part of Metallica's World Magnetic Tour.

Album:

VII: Sturm und Drang is the eighth studio album (including Burn the Priest) by American groove metal band Lamb of God. The album was released on July 24, 2015 through Epic Records in North America and through Nuclear Blast outside North America.It is the first album after lead vocalist Randy Blythe's manslaughter case and a brief hiatus after finishing the Resolution touring cycle. Randy Blythe stated that people shouldn't expect a prison record, and that instead he would "write about things that affect me very deeply", such as going to prison in a foreign country and being charged with manslaughter, as stated by Blythe.The album's subtitle, literally translated as "Storm and Stress", indirectly refers to Blythe's experience. Blythe says he and Mark Morton were talking about how the record’s theme relates to the psychology of humans reacting under extreme conditions, and they wanted a word that reflected such situations. Morton, whose mother is German, came across the term while researching German vocabulary. After which, the band agreed to the title.Blythe calls the album "the most cohesive record" the band has done in a long time, with Blythe writing "90 percent" of the lyrics as well as main songwriters Mark Morton and Willie Adler working in collaboration on all of the tracks instead of writing complete songs individually. Blythe also stated that due to these reasons, "The record is much, much stronger for it" and is less "schizophrenic" than previous albums."Still Echoes",VII's first single, draws inspiration from the history of Pankrác Prison, where Blythe was held on manslaughter charges. Reciting the first lyric from "Still Echoes", Blythe asserts that there was real inspiration for the lyrics even though the words "might read like graphic metal imagery". Blythe said that he sought out information about the prison's history from guards and fellow inmates while he was incarcerated.Blythe wrote the lyrics to the song "512", the album's second single, in Pankrác Prison cell number 512, while he was contemplating how the experience was changing him. According to Blythe, most of his time was spent in a basement dungeon. He said the guards put him there so they could monitor him for depression. "They stick you in the worst, dimmest, darkest place in the prison," he says. "I couldn't even see the sun to tell what part of the day it was. It was just steadily lessening levels of gloom."The third single, "Overlord", was released on June 30th, 2015. Blythe said the song is about the dangers of self-obsession in our distressingly myopic and increasingly entitled 'me-now/now-me' culture. It's about how many people can't seem to look past their own relatively small problems to see the bigger picture, and how everyday problems do not in any way shape or form constitute an emergency. Blythe commented: "Sometimes things just don't work out the way we want them to, [so] deal with it. People who only see their own problems eventually wind up alone because no one wants to hear their crap anymore. We all know someone like that, always whining and complaining about some inconsequential setback as if it were the apocalypse. This song is for those people."A fourth single, "Erase This" was made available for streaming on July 10th, 2015. Guitarist Mark Morton told Rolling Stone the song is about negative people and how they can drag you down without you realizing it. It's about people you might be close to, but who are stuck in their own self-pity and that kind of energy can spread like a virus. Morton commented: "Most of us as humans have been on both the giving and receiving end of that kind of attitude, but the older I get, the more I try to focus on not allowing that type of vibe to enter my mindset." He also said, musically, "it's trademark Lamb of God riffing," and compared it to "Laid to Rest" from 2004's Ashes of the Wake.On July 17th, 2015, a week before the album's release, a fifth song entitled "Embers" was released. The song features a guest vocal appearance from Chino Moreno of Deftones. Randy Blythe says the lyrics deal with how loss affects interpersonal relationships in terms of a family dynamic, and if a family member dies, that can really twist things up. Randy commented further, saying: "I used a sort of ‘oceanic’ vibe in the lyrics. I’m talking about I’ve been staring at her laying still for so long, and I’m talking about the ocean at that point. The ocean is a metaphor for life.” Blythe also said when the song was written there were two different endings. The first one was "‘Lamb of God,’ like, boring, we’ve done it a million times" said Blythe. Guitarist Mark Morton wrote the second ending and when Randy Blythe was down at the beach writing his book and listening to it he says he could hear Chino’s vocals on it and is a huge Deftones fan."Footprints" is an ecological song according to Blythe. While he was living at the beach during the making of the album, for the summer, he remembered how much he hated tourist season. "There is no reason for tourists to behave like fucking animals and children. The locals are not your goddamn maids, and if you want the beach to be nice or the mountaintop to be nice or the town to remain picturesque, don't like throw trash everywhere, don't destroy beauty...So 'Footprints' is about [carbon] footprints.""Anthropoid" is about Reinhard Heydrich who was the architect of the Final Solution during World War II. When the Nazis invaded Czechoslovakia, they sent Heydrich. Heydrich was brutal to the people of Prague and broke their spirits. Due to his brutal efficiency, Heydrich was nicknamed the Butcher of Prague, the Blond Beast, and the Hangman. Later, a group of Czech-born, British-trained paratroopers carried out the only successful assassination attempt on a high-ranking Nazi official when they attacked Heydrich during Operation Anthropoid on 27 May 1942 and died a few days later from his injuries. Randy Blythe considers them superior men, and wanted to honor them with a song. So the song is about them and killing the Butcher of Prague."Engage the Fear Machine" is about the media using scare tactics and controlling the masses through fear. Since the band was flying around a lot during that time Blythe says he remembers seeing all of the stories about Ebola and how insane he thought it was. Blythe says: "What ever happened to Ebola? How long ago was that? We were all going to die, you know? The news just takes everything to the next limit, and it keeps viewers glued to the TV and it brings in advertiser dollars.""Delusion Pandemic" is about how the Internet is a useful tool, and you can use it to learn, but it has also created a creatively stifled environment. "I do not like mashup culture." Blythe says. "There is nothing original about it. It's a waste of my cerebral space. Everything's getting shittier and shittier and shittier. I mean, I'm not Ernest Hemingway or whatever, I'm not the new greatest photographer in the world, but at least I'm writing my own stuff and I'm doing my own thing. Internet memes? Why are you paying attention to this? Why is there some stupid picture that you put some stupid little things on that say something dumb? This is cerebral garbage. You are clogging your mind"."Torches" was inspired by a Czech student named Jan Palach. In 1969 the Warsaw Pact invaded Czechoslovakia in an attempt to keep the Czech people under communist rule. Since the Nazis had already destroyed and brutalized Czechoslovakia during World War II, this student went to Wenceslas Square to the stairs of the National Museum during a busy time of the day and caught himself on fire. He walked down the steps in protest and then died a few days later. He became a symbol of dissidence for the Czechs up until the end of the communist area. Blythe says he learned of the topic while awaiting his trial and had a lot of respect for him. It also made Blythe think about "what kind of mentality does a person have to be in to be so upset that you burn yourself alive? That's got to be an unpleasant way to go." The song was inspired by visiting Palach's grave. The song also features guest vocals by Greg Puciato of Dillinger Escape Plan.VII contains ten tracks[15] and a limited first pressing features two bonus tracks.The album was also made available with exclusive bundles through the band's website.The first single "Still Echoes".The album's second single, "512", was made available for streaming on the band's official YouTube channel on June 8, 2015.The official music video for "512" premiered on June 12, 2015.The official music video for the albums third single, "Overlord", premiered on June 30, 2015, and was also made available through digital retailers.The album's fourth single "Erase This" was made available for streaming on July 10, 2015.The album's fifth single, "Embers", was released July 17, 2015, a week before the albums release, and features guest vocals from Chino Moreno of Deftones.

Line-Up:

Randy Blythe - Vocals (1999-present) - See also: ex-Burn the Priest, Halo of Locusts, ex-Cannabis Corpse (live), ex-The Kris Norris Projekt
John Campbell - Bass (1999-present) - See also: ex-Burn the Priest, ex-Fatty Love, ex-RPG
Chris Adler - Drums (1999-present) - See also: Megadeth (live), ex-Burn the Priest, ex-Blotted Science, ex-Calibra, ex-Cry Havoc, ex-El Tigre, ex-EvilDeathInc., ex-Exit-In, ex-Grouser, ex-Jettison Charlie
Mark Morton - Guitars (1999-present) - See also: ex-Killing Cycle, ex-Burn the Priest, Born of the Storm, Corntooth, ex-Axis, ex-Fatty Love, ex-Hgual, ex-Nascar Drag
Willie Adler - Guitars (1999-present) - See also: ex-Burn the Priest, ex-El Tigre

Tracklist:

01. Still Echoes 04:23
02. Erase This 05:09
03. 512 04:45
04. Embers 04:57
05. Footprints 04:25
06. Overlord 06:29
07. Anthropoid 03:39
08. Engage the Fear Machine 04:49
09. Delusion Pandemic 04:23
10. Torches 05:18

+ Video "512" (Official Video)




Download links for all albums only on our blog here: http://goodmetalandhar.do.am/

[Horex]

Lamb Of God - Omens (2022)













Year : 2023
Style : Groove Metal , Metalcore
Country : United States
Audio : 320 kbps + all scans
Size : 126 mb

Bio:

Lamb of God (sometimes abbreviated as LoG)is an American heavy metal band from Richmond, Virginia. Formed in 1994 (as Burn the Priest), the group consists of vocalist Randy Blythe, guitarists Mark Morton and Willie Adler, bassist John Campbell, and drummer Chris Adler. The band are considered a significant member of the New Wave of American Heavy Metal movement.Since their formation, Lamb of God has released eight studio albums (including one released as "Burn the Priest"), one live album, one compilation album and three DVDs. The band's cumulative sales equal almost two million in the United States. In 2010 and 2011 the band received Grammy nominations for songs from their 2009 album Wrath. Lamb of God has toured with the Ozzfest twice and appeared on Slayer's The Unholy Alliance Tour in 2006. Other appearances include Download Festival and Sonisphere Festival in the UK, Soundwave Festival, Mayhem Festival 2010 and Gigantour. From 2008 to 2010 they toured as part of Metallica's World Magnetic Tour.

Album:

Since the early 90s the American metal scene has been on a perennial quest for the ultimate expression of heaviness, spearheaded by the commercial success of Metallica’s eponymous 5th studio album and especially the subsequent breakthrough opus that was Pantera’s Vulgar Display Of Power. Indeed, one could argue that every expression of the NWOAHM has been an attempt to further distill the early strides of the aforementioned albums to its most primal form, with varying outside influences coming into the equation to take this unifying endeavor in a few different directions, with that of the Gothenburg-styled melodic death metal sound providing the most auspicious results during the 2000s. Within this context, Virginia-based metal juggernaut Lamb Of God, which had already existed for much of the 90s under the moniker Burn The Priest, forged a forceful blend of Pantera-styled groovy aggression, lightning fast modern thrash trappings and occasional melodeath trappings into a highly distinctive niche, one which continues to bear fruit after taking root over two decades ago.Though always a highly consistent processing plant of pummeling riffs, deep-thudding rhythms and over-the-top vocal gymnastics of the harsher variety, there is a consensus that the signature sound that Lamb Of God is best known for was codified on their 2004 smash opus Ashes Of The Wake, and it is that same template that has guided their latest studio effort in 2022’s Omens. Helmsman and vocalist Randy Blythe continues to embody the raucous, shrieking quality that typified the raging bull approach pioneered by Phil Anselmo during the mid-1990s, though presenting it in a more methodical manner with clear points of climax and denouement, occasionally resorting to a cleaner cut baritone for added contrast. The riff assault of Mark Morton and Willie Adler present a highly dynamic mixture of punchy grooves and frenzied thrashing bursts that prove to be as kinetic as they are tasteful, with occasional guitar solos providing some added sweetness. But behind the aforementioned impresarios is a highly efficient bombardment of rhythmic precision via bassist John Campbell and recently acquired/former Winds Of Plague drummer Arturo Cruz, providing the dense foundation to this veritable palace of aggression.No punches are pulled throughout this album’s 41 minute duration, and even from its very inception, it proves an uncompromising, iron-clad fist to the gut. Meaty crusher and opening foray “Nevermore” sets the tone on a decidedly bombastic note, sticking more towards mid-paced territory and relying on a combination of rhythmically nuanced groove work and occasional interludes into the signature metalcore trappings that typified mid-2000s American metal, right down to the pummeling breakdown moments. Other anthems that tread a similar path of Dimebag Darrel inspired riffs blended with occasional flirtations with the hardcore and melodic trappings of Chimaira and Trivium include the beast of a title song “Omens” and the modern thrash-tinged banger with a heavy dose of Exhorder influences “Grayscale”, each presented in a compact format fit for rock radio and chock full of enough attitude to turn lethal in a mosh pit setting, ultimately leaving little mystery as to why they, along with the previously noted “Nevermore” were featured as promotional singles, attaining heavy praise via the online metal community.While this outfit continues to be one that errs on the side of not messing with a winning formula, there is a healthy degree of variety in how this album presents its consistent expression of rage once the deeper tracks are considered. More kinetic, thrash-based offerings such as the Testament-like riff machine “Vanishing” and the militarized modern monster of a crusher with a side order of 2000s Exodus trappings “Ditch” still retain some of the metalcore trappings and Pantera-infused anger of this outfit’s mid-paced fair, but are far more chaotic and dangerous in their demeanor. The picture gets a bit more controlled on the up tempo pile-driver “Ill Designs” and the stop-start thrashing of “To The Grave”, but the sense of frantic motion continues to guide things, while the shorter and more stripped down mayhem of “Denial Mechanism” hearkens back pretty heavily to the compact chaos of Sepultura’s punk-infused modern speed anthems. But the song that showcases the richest level of contrast is the longer closing number “September Song”, which delves the furthest into the band’s stylistic connection to the 2000s metalcore scene and explores the corresponding melodic Gothenburg trappings and atmospheric elements the most while still maintaining the album’s overarching focus on unrelenting heaviness.Naturally the question for the newcomer and the hardened faithful that have followed Lamb Of God since the beginning alike becomes, where does Omens fit in the expansive catalog associated with the band in question? The answer is basically somewhere in the middle, as it lacks the distinction of being the first album to really flesh out this formula that Ashes Of The Wake can claim, nor does it go beyond the expansive variation on said format that was accomplished on 2009’s Wrath, but it is by no means a slouch. There are no weak links to speak of here, nor anything that would sound like a puzzling deviation that would meet with the disapproval of this style’s established audience, and the ante has definitely been upped in how massive things sound given further strides in production quality. It does play things a tad safe, but ultimately accomplishes the same satisfying restatement of what works that many newer albums by established adherents of the NWOAHM movement have been putting out of late, and should not be passed up by anyone who likes their metal as heavy as can be.

Line-Up:

Randy Blythe - Vocals (1999-present) - See also: ex-Burn the Priest, Halo of Locusts, ex-Cannabis Corpse (live), ex-The Kris Norris Projekt
John Campbell - Bass (1999-present) - See also: ex-Burn the Priest, ex-Fatty Love, ex-RPG
Mark Morton - Guitars (1999-present) - See also: ex-Killing Cycle, ex-Burn the Priest, Born of the Storm, Corntooth, ex-Axis, ex-Fatty Love, ex-Hgual, ex-Nascar Drag
Willie Adler - Guitars (1999-present) - See also: ex-Burn the Priest, ex-El Tigre
Art Cruz - Drums (2019-present) - See also: Mark Morton (live), ex-Prong, ex-Winds of Plague, ex-Enthral, ex-Azusa

Tracklist:

01. Nevermore 04:35
02. Vanishing 04:48
03. To the Grave 03:43
04. Ditch 03:37
05. Omens 03:47
06. Gomorrah 04:12
07. Ill Designs 03:41
08. Grayscale 03:59
09. Denial Mechanism 02:37
10. September Song 06:00
11. Evidence 03:50 (Bonus Track)
12. State Of Unrest feat. Kreator 03:08 (Bonus Track)
13. Wake Up Dead feat. Megadeth 03:43 (Bonus Track)




Download links for all albums only on our blog here: http://goodmetalandhar.do.am/

[Horex]

Lamb Of God - Into Oblivion (2026)













Year : 2026
Style : Groove Metal , Metalcore
Country : United States
Audio : 320 kbps + scans
Size : 93 mb

Bio:

Lamb of God (sometimes abbreviated as LoG)is an American heavy metal band from Richmond, Virginia. Formed in 1994 (as Burn the Priest), the group consists of vocalist Randy Blythe, guitarists Mark Morton and Willie Adler, bassist John Campbell, and drummer Chris Adler. The band are considered a significant member of the New Wave of American Heavy Metal movement.Since their formation, Lamb of God has released eight studio albums (including one released as "Burn the Priest"), one live album, one compilation album and three DVDs. The band's cumulative sales equal almost two million in the United States. In 2010 and 2011 the band received Grammy nominations for songs from their 2009 album Wrath. Lamb of God has toured with the Ozzfest twice and appeared on Slayer's The Unholy Alliance Tour in 2006. Other appearances include Download Festival and Sonisphere Festival in the UK, Soundwave Festival, Mayhem Festival 2010 and Gigantour. From 2008 to 2010 they toured as part of Metallica's World Magnetic Tour.

Album:

Into Oblivion is the twelfth studio album by American heavy metal band Lamb of God.It was released on March 13, 2026 through Century Media Records and Epic Records.With just over 25 years now in the rearview, or more than 30 if counting their formative years in the mid to late 90s under the moniker Burn The Priest, Virginian natives Lamb Of God have seemingly explored the furthest extremes of America’s post-80s metal landscape. Often credited as the outfit to carry the groove-oriented style pioneered by Pantera and Exhorder into the 20th century and make it more palpable to the punk sensibilities of the concurrent metalcore scene explosion, they’ve never been one to pull their punches in terms of both sonic and lyrical heaviness, leaving few topics untouched while adding a more kinetic, thrashing character to the stylistic template first codified by the aforementioned bands’ 1992 offerings in Vulgar Display Of Power and The Law respectively. Now 10 full length studio albums deep into their career, their latest entry Into Oblivion finds a band sticking close to their stylistic home while still managing a few surprises here and there.Sticking to a highly concise and methodical approach to songwriting, this quintet dishes out an auditory smorgasbord of bite-sized crushers that falls mostly in line with where things have been since original drummer Chris Adler’s exodus from the fold and the release of the 2020 eponymous album. For his third go behind the kit in the studio, Art Cruz proves just as formidable as his predecessor in making an explosive ruckus and gelling seamlessly with bassist John Campbell’s dark thuds to form a truly colossal foundation. The guitar duo of Mark Morton and Willie Adler remain a highly effective pair of killing machines in the riff department, delivering one crushing pass after the next in the same spirit as Dimebag Darrel Abbott with a healthy side order of Bay Area thrash stylings, the former also serving up numerous fits of bluesy shredding to further complement an already highly kinetic arrangement. But the impresario at the center of it all, namely vocalist Randy Blythe, continues to steal the show with his overwhelmingly aggressive growls and shrieks in true berserker fashion.While the individual performances of this evenly yoked union of seasoned veterans’ amount to a veritable force of nature, the anthems of fury and discontent that they weave strike a surprisingly disciplined and methodical tone. The opening trifecta of neck-destroying power to kick things off artfully blur the lines between this band’s obvious 90s groove metal roots and the more rapid fire style normally associated with the likes of Testament, Exodus and Death Angel. Be it the generally fast-paced and harsh opening foray of the album’s title entry “Into Oblivion”, the blazing rage of “Parasocial Christ” or the sludgy crawl turned frenzied thrashing mayhem of “Sepsis”, there is a continual balance of 90s southern punch and 2000s Bay Area revivalism at play. Other similarly ferocious shots across the bow like “The Killing Floor” and “St. Catherine’s Wheel” follow the same scheme in a slightly more drawn out and elaborate fashion, with Campbell’s bass work being especially auspicious one the latter and Morton delivers one of his flashier solos about a minute before its conclusion.Though compared to some of the more expansive opuses during their middle era this is a more streamlined undertaking, Into Oblivion is pretty far from a one-dimensional musical affair. Amid all of the cynical and shout-steeped sonic carnage stands a dreary fit of balladry with an occasional bite in “El Vacio” that sees Blythe explore cleaner, crooning territory, while the guitar tapestry painted by Morton and Adler takes on a far more nuanced and haunting tone, culminating in a sort of 2020s answer to Pantera’s “This Love”. On the other end of the spectrum, the hyper-kinetic riff machine “Bully” sees the technical chops of the aforementioned guitar duo shine extra bright at every groove-thrashing turn; ditto the slightly shorter closing hurrah “Devise/Destroy”. But insofar as coup de grace moments, both in terms of musical execution and ear worm hooks, the difference is split between the mid-paced groove with enough cowbell to sate Christopher Walken via “A Thousand Years”, channeling some obvious The Great Southern Trendkill vibes, and the crushing thrasher with a menacing edge “Blunt Force Blues”.Into Oblivion is one of those albums that check all the obligatory boxes for what one looks for in a textbook Lamb Of God album. In many ways it channels the same spirit of unmitigated fire and fury through a controlled lens that first put this fold on the mid-2000s map with Ashes Of The Wake, though it ultimately plays things a bit safe in the innovation department and largely winds up in the solid territory that was the 2020 self-title album and 2022’s Omens. It’s a well-rounded listen that lends itself well to being heard from beginning to end without need of the skip button, yet one can’t help but come away feeling that they’ve heard something that’s very good rather than something life-changing. To the uninitiated it might come off as a less pretty version of what typified metalcore in the mid-2000s, but to those who have been riding this groove train since said time period, this is business as usual, even though what passes for business as usual with Lamb Of God’s name on it seems to be anything but that.

Line-Up:

Randy Blythe - Vocals (1999-present) - See also: ex-Burn the Priest, Halo of Locusts, ex-Cannabis Corpse (live), ex-The Kris Norris Projekt
Mark Morton - Guitars (1999-present) - See also: ex-Killing Cycle, ex-Burn the Priest, Born of the Storm, Corntooth, ex-Axis, ex-Fatty Love, ex-Hgual, ex-Nascar Drag
Willie Adler - Guitars (1999-present) - See also: ex-Burn the Priest, ex-El Tigre
John Campbell - Bass (1999-present) - See also: ex-Burn the Priest, ex-Fatty Love, ex-RPG
Art Cruz - Drums (2019-present) - See also: Mark Morton (live), ex-Prong, ex-Winds of Plague, ex-Enthral, ex-Azusa

Production:

Recorded At – Total Access Recording Studios
Distributed By – Epic Records
A&R – Ezekiel Lewis
A&R [A&R Admin] – Francesca Grassi
A&R [A&R Label Relations] – Bekah Connolly
A&R [A&R Operations] – Vivian Yohannes
Art Direction – K3n Adams
Artwork [Art By], Design [Design By] – K3N
Artwork [Production Artist] – Goldie Gareza
Booking [Agent] – Sound Talent Group, Tim Borror
Creative Director – Tina Ibañez
Engineer [Assistant Engineer, Drums] – Will Beasley
Engineer [Assistant Engineer, Vocals] – Steve Ornest
Engineer [Engineered By] – Josh Wilbur, Kyle McAulay
Keyboards [Keys By], Programmed By [Programing By], Sound Designer [Sound Design By] – Josh Wilbur, Willie Adler
Legal – Adam Mandell, Millen, White, Zelano & Branigan
Management [Business Affairs] – Angela McMonagle, Audrey Jackson (4), Eric Taylor (18), Laura Kozel
Management [Worldwide Management] – 5B Artist Management
Marketing – Victoria Huber
Marketing [Digital Marketing] – Jonathan Ayaz
Mastered By – Josh Wilbur
Other [Release Planning] – Dominick Stragapede, Maximillion Sholl
Producer [Produced By], Mixed By – Josh Wilbur
Public Relations [Publicity (UK)] – Cosa Nostra*, Kirsten Sprinks
Public Relations [Publicity (US)] – Monica Seide-Evenson*, Speakeasy PR
Public Relations [Publicity] – Derek Sherron
Written-By – Lamb Of God

Tracklist:

01. Into Oblivion (03:34)
02. Parasocial Christ (03:20)
03. Sepsis (03:38)
04. The Killing Floor (04:16)
05. El Vacio (04:17)
06. St. Catherine's Wheel (04:05)
07. Blunt Force Blues (04:11)
08. Bully (04:13)
09. A Thousand Years (03:53)
10. Devise / Destroy (03:49)




Download links for all albums only on our blog here: http://goodmetalandhar.do.am/

[Horex]

Lamb Of God - Into Oblivion (Japan Edition) (2026)













Year : 2026 (Japan Edition)
Style : Groove Metal , Metalcore
Country : United States
Audio : 320 kbps + all scans
Size : 122 mb

Bio:

Lamb of God (sometimes abbreviated as LoG)is an American heavy metal band from Richmond, Virginia. Formed in 1994 (as Burn the Priest), the group consists of vocalist Randy Blythe, guitarists Mark Morton and Willie Adler, bassist John Campbell, and drummer Chris Adler. The band are considered a significant member of the New Wave of American Heavy Metal movement.Since their formation, Lamb of God has released eight studio albums (including one released as "Burn the Priest"), one live album, one compilation album and three DVDs. The band's cumulative sales equal almost two million in the United States. In 2010 and 2011 the band received Grammy nominations for songs from their 2009 album Wrath. Lamb of God has toured with the Ozzfest twice and appeared on Slayer's The Unholy Alliance Tour in 2006. Other appearances include Download Festival and Sonisphere Festival in the UK, Soundwave Festival, Mayhem Festival 2010 and Gigantour. From 2008 to 2010 they toured as part of Metallica's World Magnetic Tour.

Album:

Japan edition with 2 bonus tracks.Into Oblivion is the twelfth studio album by American heavy metal band Lamb of God.It was released on March 13, 2026 through Century Media Records and Epic Records.With just over 25 years now in the rearview, or more than 30 if counting their formative years in the mid to late 90s under the moniker Burn The Priest, Virginian natives Lamb Of God have seemingly explored the furthest extremes of America’s post-80s metal landscape. Often credited as the outfit to carry the groove-oriented style pioneered by Pantera and Exhorder into the 20th century and make it more palpable to the punk sensibilities of the concurrent metalcore scene explosion, they’ve never been one to pull their punches in terms of both sonic and lyrical heaviness, leaving few topics untouched while adding a more kinetic, thrashing character to the stylistic template first codified by the aforementioned bands’ 1992 offerings in Vulgar Display Of Power and The Law respectively. Now 10 full length studio albums deep into their career, their latest entry Into Oblivion finds a band sticking close to their stylistic home while still managing a few surprises here and there.Sticking to a highly concise and methodical approach to songwriting, this quintet dishes out an auditory smorgasbord of bite-sized crushers that falls mostly in line with where things have been since original drummer Chris Adler’s exodus from the fold and the release of the 2020 eponymous album. For his third go behind the kit in the studio, Art Cruz proves just as formidable as his predecessor in making an explosive ruckus and gelling seamlessly with bassist John Campbell’s dark thuds to form a truly colossal foundation. The guitar duo of Mark Morton and Willie Adler remain a highly effective pair of killing machines in the riff department, delivering one crushing pass after the next in the same spirit as Dimebag Darrel Abbott with a healthy side order of Bay Area thrash stylings, the former also serving up numerous fits of bluesy shredding to further complement an already highly kinetic arrangement. But the impresario at the center of it all, namely vocalist Randy Blythe, continues to steal the show with his overwhelmingly aggressive growls and shrieks in true berserker fashion.While the individual performances of this evenly yoked union of seasoned veterans’ amount to a veritable force of nature, the anthems of fury and discontent that they weave strike a surprisingly disciplined and methodical tone. The opening trifecta of neck-destroying power to kick things off artfully blur the lines between this band’s obvious 90s groove metal roots and the more rapid fire style normally associated with the likes of Testament, Exodus and Death Angel. Be it the generally fast-paced and harsh opening foray of the album’s title entry “Into Oblivion”, the blazing rage of “Parasocial Christ” or the sludgy crawl turned frenzied thrashing mayhem of “Sepsis”, there is a continual balance of 90s southern punch and 2000s Bay Area revivalism at play. Other similarly ferocious shots across the bow like “The Killing Floor” and “St. Catherine’s Wheel” follow the same scheme in a slightly more drawn out and elaborate fashion, with Campbell’s bass work being especially auspicious one the latter and Morton delivers one of his flashier solos about a minute before its conclusion.Though compared to some of the more expansive opuses during their middle era this is a more streamlined undertaking, Into Oblivion is pretty far from a one-dimensional musical affair. Amid all of the cynical and shout-steeped sonic carnage stands a dreary fit of balladry with an occasional bite in “El Vacio” that sees Blythe explore cleaner, crooning territory, while the guitar tapestry painted by Morton and Adler takes on a far more nuanced and haunting tone, culminating in a sort of 2020s answer to Pantera’s “This Love”. On the other end of the spectrum, the hyper-kinetic riff machine “Bully” sees the technical chops of the aforementioned guitar duo shine extra bright at every groove-thrashing turn; ditto the slightly shorter closing hurrah “Devise/Destroy”. But insofar as coup de grace moments, both in terms of musical execution and ear worm hooks, the difference is split between the mid-paced groove with enough cowbell to sate Christopher Walken via “A Thousand Years”, channeling some obvious The Great Southern Trendkill vibes, and the crushing thrasher with a menacing edge “Blunt Force Blues”.Into Oblivion is one of those albums that check all the obligatory boxes for what one looks for in a textbook Lamb Of God album. In many ways it channels the same spirit of unmitigated fire and fury through a controlled lens that first put this fold on the mid-2000s map with Ashes Of The Wake, though it ultimately plays things a bit safe in the innovation department and largely winds up in the solid territory that was the 2020 self-title album and 2022’s Omens. It’s a well-rounded listen that lends itself well to being heard from beginning to end without need of the skip button, yet one can’t help but come away feeling that they’ve heard something that’s very good rather than something life-changing. To the uninitiated it might come off as a less pretty version of what typified metalcore in the mid-2000s, but to those who have been riding this groove train since said time period, this is business as usual, even though what passes for business as usual with Lamb Of God’s name on it seems to be anything but that.

Line-Up:

Randy Blythe - Vocals (1999-present) - See also: ex-Burn the Priest, Halo of Locusts, ex-Cannabis Corpse (live), ex-The Kris Norris Projekt
Mark Morton - Guitars (1999-present) - See also: ex-Killing Cycle, ex-Burn the Priest, Born of the Storm, Corntooth, ex-Axis, ex-Fatty Love, ex-Hgual, ex-Nascar Drag
Willie Adler - Guitars (1999-present) - See also: ex-Burn the Priest, ex-El Tigre
John Campbell - Bass (1999-present) - See also: ex-Burn the Priest, ex-Fatty Love, ex-RPG
Art Cruz - Drums (2019-present) - See also: Mark Morton (live), ex-Prong, ex-Winds of Plague, ex-Enthral, ex-Azusa

Production:

Recorded At – Total Access Recording Studios
Distributed By – Epic Records
A&R – Ezekiel Lewis
A&R [A&R Admin] – Francesca Grassi
A&R [A&R Label Relations] – Bekah Connolly
A&R [A&R Operations] – Vivian Yohannes
Art Direction – K3n Adams
Artwork [Art By], Design [Design By] – K3N
Artwork [Production Artist] – Goldie Gareza
Booking [Agent] – Sound Talent Group, Tim Borror
Creative Director – Tina Ibañez
Engineer [Assistant Engineer, Drums] – Will Beasley
Engineer [Assistant Engineer, Vocals] – Steve Ornest
Engineer [Engineered By] – Josh Wilbur, Kyle McAulay
Keyboards [Keys By], Programmed By [Programing By], Sound Designer [Sound Design By] – Josh Wilbur, Willie Adler
Legal – Adam Mandell, Millen, White, Zelano & Branigan
Management [Business Affairs] – Angela McMonagle, Audrey Jackson (4), Eric Taylor (18), Laura Kozel
Management [Worldwide Management] – 5B Artist Management
Marketing – Victoria Huber
Marketing [Digital Marketing] – Jonathan Ayaz
Mastered By – Josh Wilbur
Other [Release Planning] – Dominick Stragapede, Maximillion Sholl
Producer [Produced By], Mixed By – Josh Wilbur
Public Relations [Publicity (UK)] – Cosa Nostra*, Kirsten Sprinks
Public Relations [Publicity (US)] – Monica Seide-Evenson*, Speakeasy PR
Public Relations [Publicity] – Derek Sherron
Written-By – Lamb Of God

Tracklist:

01. Into Oblivion (03:34)
02. Parasocial Christ (03:20)
03. Sepsis (03:38)
04. The Killing Floor (04:16)
05. El Vacio (04:17)
06. St. Catherine's Wheel (04:05)
07. Blunt Force Blues (04:11)
08. Bully (04:13)
09. A Thousand Years (03:53)
10. Devise / Destroy (03:49)
11. Wire (03:35) (Bonus Track)
12. Children of the Grave (04:47) (Bonus Track)




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