It’s okay, Lamb of God. You changed your logo, and along with the artwork for the new album, Into Oblivion, it looks like an early 2000s Geocities website. Am I bitter about it? No, of course not. It’s not like a certain writer for this distinguished online tome has the LOG from Wrath tattooed on his right bicep in a somewhat uncomfortable position or anything.

Whether he does or doesn’t is up for debate, but for the sake of argument, it would be almost embarrassing for that said writer if the band started putting out snoozers this late into their career. I thought they were going down that path several years ago, but the exit of a key member and excellent drummer, Chris Adler, seems to have lit a fire under the band because they have been on a tear the last few albums. The stellar run continues with Into Oblivion.

This run has been defined by a band that sounds familiar yet keeps everything fresh by adding twists and turns. For proof, check out one of the released singles, “Sepsis.” Beginning with bass and drums, the verses are not too out of the ordinary with spoken word, but Randy has added some force to the delivery, almost reminding me of A. A. Nemtheanga from Primordial when he yells into your soul. He sounds as if he’s going to jump from the speakers. It doesn’t quite sound like a Lamb of God track until about halfway, and that plodding breakdown near the end is icing on the cake.

Perhaps my favorite track is up next, “The Killing Floor,” which is a start-to-finish banger. Willie and Mark’s riffs are recognizable and potent as ever. There’s a meatier breakdown around 2:20, which would be worth the price of admission alone. That doesn’t even mention the Fear Factory, stutter, and stop sound they incorporate into it.

The hits keep coming, too, because the next track, “El Vacio,” slows the proceedings slightly, beginning with a quiet, clean guitar passage accompanying Randy’s half-spoken, half-sung vocals. When the chorus hits, it gets heavy. It’s a perfect, middle-of-the-album reprieve, and one of the best songs the band has ever written.

I do, however, feel the review has focused on the softer side of the band, but check out “Bully” for some brutality. Randy still sounds vicious, and the spectacular drum performance from Art Cruz shines through, as it honestly does on the rest of the album. What a great fit for the band he is. The lyrics are full of the tough guy swagger Randy has used on previous tracks, such as “Redneck,” which Pantera brought into mainstream metal. None of that is to take away from the fact that he always makes them work. The main riff is chunky, which can also be said for every single one on the album.

Far into their career, I’m glad to report that one of my favorite bands still has its fastball and may have even added a knuckleball to their repertoire. It’s safe to say they’ve knocked it out of the park again… It’s baseball season upcoming. I barely mentioned it throughout the review, but the production and mix on Into Oblivion are top-notch. I have zero complaints. Everything can be clearly discerned, and it has enough crunch to satisfy any metal fan. I can’t recommend this enough. It’s great to see a band that has been around a while not resting on its laurels and proving to its fanbase that they’re still hungry and pissed off. You may be tempted, but don’t pass this by.