Reviews list for Lamb of God - Into Oblivion (2026)

Bold statement incoming. I like the new Lamb of God album. I think it is good. That might class as two bold statements, but I think you get the gist of how this review is shaping up even at this early stage of proceedings. I am not Lamb of God’s biggest fan; in fact, I doubt that I have successfully navigated one whole album by them before the multiple listens that this opus has enjoyed. Just like this review, Into Oblivion starts off positively with the title track presenting a solid groove metal track to open things up with. Dashing riffs jab at the listener whilst Blythe’s bruising commentary land more direct blows. The slamming metalcore tropes of ‘Parasocial Christ’ are a welcome continuation of things, making it very clear that Lamb of God have not just turned up, they have rolled their sleeves up, adorned some sweatbands around their wrists and are already hard at it. After a slower start, ‘Sepsis’ soon sets in as its title suggests it would, turning into a dirty little fucker of a track, treating us to a breakdown also before leaving us sweaty and exhausted.

It is no secret that groove metal is perhaps one of the sub-genres that I struggle with and it is only the fact that I curate the playlist for The Pit that I have actually managed to seek out some alternatives to the single-track of Pantera records that I have been listening to (increasingly sporadically) over the last thirty-plus years. Machine Head’s debut was a treat of course and later day Exhorder are perhaps my only other consistent listen. Lamb of God have not had a look in until now. However, this is a mature sounding record that keeps the fun of the style firmly in play. This is not Pantera worship; whilst those elements are certainly there, I must listen attentively to formulate the influence. Nor do the grooves reach the infectious levels of Exhorder. Instead, I pick up a mixture of reflective, contemplative subject matters malformed into a blunt force trauma style delivery that benefits from restraint being applied. Into Oblivion, ironically, never fully forms into the threatened state of the album title. Lamb of God are fully aware of what they are doing.

I put this record on rotation at the same time as the new Exodus release, fully expecting this one to fall foul of the two-way comparison and that I would be sat here writing a review on Holt and co’s latest instead. As it turns out, Into Oblivion is miles ahead of Goliath in my book. If anything, Lamb of God’s tenth studio album is still growing on me, after some four listens now, this is no mean feat. To still have the same levels of energy by track seven (‘Blunt Force Blues’) is not an accolade I am often able to dish out. Even the slower paced (ballad?), ‘El Vacio’ doesn’t derail things, despite being the weakest track on here for me. At under forty minutes, managing to maintain a high level of consistency throughout its runtime, Into Oblivion is a triumph of a record in a sub-genre that for me lacks many successes even. Nodding heavily back to their roots whilst applying an array of sonic textures along the way, this is a record I never expected to like, and I think it is outstanding. Bold statement to close as well.

Whenever a band changes their logo after 25 years, they're bound to get some feedback about it from their fans, some good, some bad. Such is the case for Lamb of God with the cover art of their new album Into Oblivion. And I gotta say, I'm somewhere in the middle there. I wouldn't say it's bad, but it does look a little clunky. However, I love the more futuristic and comic-like art itself. Perhaps their first time taking the comic-esque approach since their one album as Burn the Priest (and less violent too).

As for the actual album, Into Oblivion is pretty much their best album I've heard in years! Even though their earlier albums sounded impressive to me when I was listening to them over 5 years ago, especially their 2000s material, a lot of their appeal ended up worn out. Into Oblivion redeems it all with furious anthems that can cut like a knife.

The title opener unleashes the band's dark heavy thrashy groove metal sound without losing steam. "Parasocial Christ" infuses their sound with the beatdown metalcore of Kublai Khan, along with Randy Blythe's vocals getting deeper and meaner. The bridge and guitar soloing throughout the 3rd quarter is a killer throwback to their 2000s era. Soloing is uncommon for this band, but Mark Morton never misses his mark. The first single of the album is "Sepsis", this one more sludgy as well as having vivid lyrics, "Holy Mother Death, rising up from Mexico". It's not until halfway through when the song really speeds up, blasting us with their heaviness from the mid-2000s. "The Killing Floor" is more labyrinthine in the riffs and rhythms, all getting harder in every bite.

"El Vacio" shows more of the band's dark side. Vocalist Randy Blythe performs some clean singing, and he sounds better at that than any of his earlier attempts, flowing with the melancholic yet sinister clean guitar. The lyrics pay tribute to the late Oderus Urungus of GWAR, even referencing one of that band's songs in the second chorus. The lyrics may also be in memory of the late Brent Hinds of Mastodon, after his fatal accident in the time of the album's production. RIP them both... "St. Catherine's Wheel" is quite spine-chilling as the riffing power roars on. "Blunt Force Blues" punches through with all its raging glory and malevolent groove.

Next up, "Bully" has more twisted riffing momentum as Randy declares "You lay down with dogs and you rise up with fleas". Then "A Thousand Years" makes another melodic detour that fits well with the destructive riffing and lyrics. Closing track "Devise / Destroy" charges with more of the crushing riffing and vocal fury. The bonus track "Wire" should've been in the actual album. The thrashy instrumentation reminds me of 2000s-era Annihilator.

Whether or not you may agree with the album's first impression that is its cover art and new band logo, Lamb of God are still at the top of their game. The band I've last heard of via VII: Sturm Und Drang and their Burn the Priest cover album have leveled up their creativity. Into Oblivion shall give more hope to the metal world in this decade!

Favorites: "Parasocial Christ", "Sepsis", "El Vacio", "Blunt Force Blues", "Bully", "Wire"