Come now,let us all genuflect before Lamb of God, for to them we owe ourmetal souls. In the fat rat-infested, decrepit tenement calledHeavy Rock Manor, the Virginia-based shock unit is one of the fewgroups striving to keep the power on and the hallways clear ofgluttonous rap-rock/post-grunge False Marias. Yes, yes, Ashes ofthe Wake arrives via Epic Records, but this only will inflame theire of the ignorant. For the rest of us, Lamb’s ascendance to themajors melts a little more of the crap rock golden calf. Whereprevious efforts were fully automatic hot LZs, they were alsoslightly muddled for the very same reason. They fired in alldirections. With Ashes, producer Machine has sharpened the cornerof every riff and tightened the turns on classicist metal gallops.Best of all, Randy Blythe’s furious yawp is more focused. Ratherthan simply being another scary voice shouter, Blythe becomes Lambof God’s threshold of pain conduit. “Laid to Rest” begins with hismeasured statements — “If there was a single day I could live…I’dtrade all the others away” — flanked by the at-odds guitars ofWillie Adler and Mark Morton. But then Blythe unleashes his demonicthroat, and the guitars leap over and across one another likebasilisks on a prowl for ibex kids. “Hourglass” offers more, itsinterlocking rhythms and breakdowns harking to the dark lands ofScandinavia. But it doesn’t go all the way there. This is Americanmetal, after all, meaning that, in the tradition of Pantera andPoison the Well, large-form grandiosity is sacrificed in favor of amuscularity derived from hardcore and hard living. The aptly named“Omerta” begins with that code’s reading. “Whoever appeals to thelaw against his fellow man is either a fool or a coward.” Itproceeds to stalk slowly into gear, the sound of a wounded mancoming after his would-be murderers. “Blood of the Scribe” refitsdeath metal’s cadence for a leaner, meaner era; the less thansubtle “Now You’ve Got Something to Die For” offers the kids a newunifying chant, not to mention some spectacularly martialinstrumental breaks. Drummer Chris Adler really shines here, withMachine ensuring his snare is a steely bullet fired by viscousdouble bass gunpowder. Instrumental freaks will swallow the titletrack whole. Guest soloists Alex Skolnick (Testament) and ChrisPoland (Megadeth) each get a taste, alongside Morton and Adler —their insane fretting sounds like a city exploding. That’s whatLamb of God does for us, what it does for metal in the 21stcentury. With the genre getting clogged by PVC goofs and Alice inChains impersonators, Lamb of God balances the equation of power,rage, tradition, and craft. It kills the filler.

Tracklisting:
1. Laid To Rest
2. Hourglass
3. Now Youve Got Something To Die For
4. The Faded Line
5. Omerta
6. Blood Of The Scribe
7. One Gun
8. Break You
9. What Ive Become
10. Ashes Of The Wake
11. Remorse Is For The Dead

Condition cover: nm

Condition cd: nm

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