A limited edition deluxe box set of Polyphia‘s 2022 album “Remember That You Will Die” has just been announced. Limited to 1,000 copies, that set features the following: Limited edition “Remember That You Will Die” boxset featuring a host of music content and premium items. This item is strictly limited to 1,000 units globally and…
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Ashes Of The Wake is the undisputed #1, followed by As The Palaces Burn and Sacrament.
The peak is obvious—Ashes Of The Wake. The early records built the sound, the mid-era perfected it, and everything after has been strong—but not stronger.
This isn’t about nostalgia or recency bias. It’s about impact, replay value, and whether these records still hold up when you hit play today. Some albums changed the band. A few changed metal. Others simply held the line.
Some of these records changed the band. Others just held the ground they already took. That’s the separation.
Fans interested in seeing the band live in 2026 can find tickets here.
This one lands here by default, but that doesn’t make it pointless.
Released under the Burn The Priest name, Legion: XX is a covers record that dives into the bands that shaped Lamb Of God’s DNA. You can hear the respect in every track, and there’s real energy behind these performances. But without original material, it doesn’t push the band forward.
It’s a look backward. Interesting, but not essential when ranking their actual legacy.
This is where the aggression starts—but not where it’s perfected.
The album is chaotic, abrasive, and rooted more in grind and early thrash than the groove-driven attack Lamb Of God would later master. You can hear flashes of what’s coming, but it hasn’t locked in yet.
It matters historically. Musically, everything that follows outclasses it.
This is the only album in their catalog that feels uncertain.
It opens strong, and there are individual tracks that hit, but the album never fully commits to a direction. It moves between ideas without building momentum, and that lack of cohesion holds it back.
You revisit songs here—not the full record.
Heavy, sharp, and executed at a high level.
But also familiar.
Omens feels like a band operating comfortably within a formula they’ve already mastered. The performances are tight, and the stripped-down recording approach gives it some edge, but it doesn’t expand their sound in any meaningful way.
It delivers exactly what you expect—and nothing beyond it.
This album brought the band back into focus.
With Art Cruz stepping in on drums, there’s a noticeable shift in energy. The songwriting feels tighter, and tracks like Memento Mori remind you that the band still knows how to hit hard when it matters.
It’s not a reinvention, but it’s a reset that works.
Few of the band’s albums carry as much emotional weight as VII: Sturm Und Drang.
Written after Randy Blythe’s imprisonment in the Czech Republic, the record explores psychological stress, resilience, and survival. Songs like 512 — named after Blythe’s prison cell — hit with both emotional depth and crushing heaviness.
It’s one of the band’s most personal and experimental records.
This is Lamb Of God at their most efficient.
No wasted motion, no filler, no drift. Every track serves a purpose, and the album never loses momentum. It might not have the same cultural impact as the top tier, but from a consistency standpoint, it’s one of their strongest records.
Lean, direct, and locked in.
This is where the identity begins to form.
It’s raw, aggressive, and still evolving—but the core sound is there. Once the groove kicks in, you can hear exactly where the band is headed. Black Label doesn’t just stand out—it signals the future.
Rough around the edges, but foundational.
This is the surprise of the catalog.
At this stage in their career, most bands are coasting. Lamb Of God aren’t. Into Oblivion sounds sharper, darker, and more focused than expected, with tighter songwriting and a more aggressive edge.
It doesn’t rely on nostalgia—it pushes forward. That’s why it lands this high.
This is the breakthrough.
Cleaner production, bigger hooks, and songs that connected far beyond the core metal audience. Redneck became a defining track, and the rest of the album supports that level of impact.
It’s their most polished record—and one of their most effective.
This is where everything locks in.
The aggression tightens, the songwriting sharpens, and the band’s identity fully takes shape. Ruin and 11th Hour don’t just stand out—they define what Lamb Of God would become.
There’s a strong argument for this being #1. It’s that important.
This is the peak. No debate.
From the opening of Laid To Rest to the closing moments, every track hits with purpose. The riffs are sharper, the writing is tighter, and the execution is on another level.
This album didn’t just define Lamb Of God—it helped define an entire era of metal.
Nothing else in their catalog reaches it.
If you didn’t disagree with at least one placement, something’s off.
Move Sacrament. Push Wrath. Defend VII higher.
But the top spot isn’t moving.
What’s your #1?
Ashes Of The Wake is widely considered their best and most influential release.
12 releases including early Burn The Priest material and Legion: XX.
Sacrament expanded their reach globally.
Yes, they continue to record and tour worldwide.
Lamb Of God formed in Richmond, Virginia and became one of the defining bands of the New Wave Of American Heavy Metal. Their blend of groove, thrash, and hardcore helped shape modern metal and establish one of the genre’s most consistent catalogs.multiple Grammy nominations and a fiercely loyal fanbase, the band remain one of the most respected bands in modern heavy music.
The post Lamb Of God Albums Ranked From Worst To Best (This List Isn’t Up For Debate At The Top) appeared first on Loaded Radio.
Experimental metal icons Sigh are back stateside, bringing their “Asian horror theater” to Fire in the Mountains and beyond this summer.
The post SIGH Announces First U.S. Dates In 20 Years Alongside DREADNOUGHT appeared first on Metal Injection.
There’s a bonus cover on a new 7″ for it.
The post Gouge Away Sign With Run For Cover Records, Debut “Figurine” Video appeared first on Theprp.com.
After 13 years, noise rock duo ’68 are hanging it all up and calling it a career. With their fifth studio album now in the can and gearing up for release in the near future, they’ve got just one final farewell tour in them to help say goodbye to their fans.
Select shows will feature special guests Derek Zanetti and Nate Bergman, making this final run of dates a unique experience, to say the least.
The tour will kick off on May 13 in Orlando, Florida, with the band’s “very last show” taking place in Atlanta on June 20. Along the way, they’ll make stops in a number of key cities across North America, including Baltimore, Philly, Toronto, Detroit, and Chicago, to name a few.
So if you want to catch ’68 one last time, you’re gonna have to head to one of the dates listed below. Tickets will go on sale this Friday.
’68 Final Tour Dates
5/13 Orlando FL The Conduit
5/15 Birmingham AL Soundstage
5/16 Nashville TN Cannery Hall
5/17 Greenville SC The Radio Room
5/18 Chapel Hill NC Local 506
5/19 Richmond VA The Canal Club
5/20 Baltimore MD Metro Gallery
5/21 Brooklyn NY The Meadows
5/22 Philadelphia PA The Foundry
5/23 Boston MA Middle East
5/25 Montreal QC Cabaret Fouf
5/26 Toronto ON Horseshoe Tavern
5/27 Buffalo NY Rec Room
5/28 Pittsburgh PA Preserving Underground
5/29 Detroit MI Catacombs
5/30 Cleveland OH Mahall’s
5/31 Indianapolis IN Hoosier Dome
6/1 Milwaukee WI The X-Ray Arcade
6/3 Chicago IL Cobra Lounge
6/5 Kansas City MO The Rino
6/6 Denver CO Marquis
6/7 Salt Lake City UT Kilby Court
6/9 Seattle WA The Funhouse
6/10 Portland OR Dante’s
6/12 Sacramento CA Goldfield Trading Post
6/13 Anaheim CA The Parish
6/14 Mesa AZ The Rosetta Room
6/16 Austin TX Come and Take It Live
6/17 Dallas TX Puzzles Deep Ellum
6/19 Tampa FL Orpheum
6/20 Atlanta GA Masquerade
The post Noise Rock Duo ’68 Announce Farewell Tour appeared first on MetalSucks.
After bringing their triumphant Skeletour to an end in Inglewood, California at the Intuit Dome on February 23, Ghost have now shared the last episode of their current Ghoulbangers Ball series.
As well as host Vanessa Warwick meeting and hanging out with dedicated fans, the six-and-a-half-minute video features a Ghoul’s Disco and one final random act of kindness from Papa V Perpetua as two gig-goers receive a ticket upgrade to premium seating. On top of that, there’s also a very moving and appropriate snippet of The Future Is A Foreign Land – and according to setlist.fm, on the night the lyrics were changed from ‘2024 / We could grow old together / 2024 / We could love one another’ to ‘2034 / We could grow old together / 2034 / We could love one another’.
A couple of days before the gig, mastermind Tobias Forge explained his reasoning for wanting to take a break from Ghost on Full Metal Jackie. As well as spending more time at home with his family, he said (via Blabbermouth): “Imagine you being a house builder, and you draw up houses, great ideas, but you’re also doing the permits and you’re also doing the tiles and you’re building everything and you’re sewing up all that [shit] and putting it all together.
“I don’t simply have an idea. And I’m out of tiles. I’m out of wood. I just don’t have it. So the only way for me to come up with a new idea and get some new inspiration is to just step away. It is as simple as that.
“But it doesn’t mean that I’m not doing anything,” he added. “I have two film projects that I’m working on. Just before I left for tour, I was recording another album with another thing. So I have tons of stuff lined up for me [for] the coming years. And also hobbies that I have put aside a little, just because for the last 15 years Ghost has obviously been force majeure. Luckily, my family has been very supportive of that. They know that in order to sort of make this happen, I need to do this. And over the years I’ve been very worried about momentum and just keeping it going because I have so many ideas and I don’t wanna lose speed. And I just came to a point where I’m like, ‘I’m actually fine if the momentum is not there.’ It’s cool. I’m good. I feel good about that. If I lose it, okay.”
Watch the final episode of Ghoulbangers Ball below:
And here’s the setlist from the show:
1. Peacefield
2. Lachryma
3. Spirit
4. From The Pinnacle To The Pit
5. Majesty
6. The Future Is A Foreign Land
7. Devil Church
8. Cirice
9. Darkness At The Heart Of My Love
10. Satanized
11. Satan Prayer
12. Umbra
13. Year Zero
14. He Is
15. Rats
16. Kiss The Go-Goat
17. Mummy Dust
18. Monstrance Clock
Encore:
19. Mary On A Cross
20. Dance Macabre
21. Square Hammer
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Posted on March 11th 2026, 5:39p.m.
Lip Critic’s new album Theft World has an incredible backstory: While the Band To Watch was touring in support of their 2024 debut album Hex Dealer, frontman Bret Kaser’s identity was stolen by a young fan of the band in a Five Nights At Freddy’s hoodie who was convinced clues for an elaborate scavenger hunt…
The post Lip Critic – “Jackpot” appeared first on Stereogum.
Deicide, Dying Fetus, Rotting Christ, and more to play exclusive club shows around May’s festival dates.
The post DEICIDE, DYING FETUS, ORTHODOX & More Announce Shows Around 2026 Sonic Temple Festival appeared first on Metal Injection.