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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Lamb of God’s discography runs twelve releases across twenty-seven years — ten albums under the Lamb of God name and two as Burn The Priest, the name they started with and briefly returned to.
In that time they became the definitive American metal band of their generation, survived a manslaughter trial, replaced a founding drummer, and somehow arrived in 2026 sounding hungrier than bands half their age. This is the complete catalogue ranked worst to best, and the record most people call their breakthrough isn’t the one at the top.
Quick clarification, because this trips people up constantly and most rankings get it wrong.
Lamb of God have released ten studio albums under that name: New American Gospel (2000), As The Palaces Burn (2003), Ashes Of The Wake (2004), Sacrament (2006), Wrath (2009), Resolution (2012), VII: Sturm Und Drang (2015), Lamb of God (2020), Omens (2022) and Into Oblivion (2026).
Two more exist under the Burn The Priest name: the 1999 debut, released before the name change, and 2018’s Legion: XX, a covers record recorded under the old banner as a twentieth-anniversary nod.
Same band, same members, different name on the sleeve. Both are included here because both are part of the story — but if someone asks how many Lamb of God albums there are, the honest answer is ten studio albums plus two Burn The Priest releases.
Not nostalgia. Not recency bias.
Three things: how strong the record is front to back, how much it moved the band or the genre, and whether it still holds up when you hit play today rather than when you were nineteen.
Some of these changed metal. Some changed the band. Some just held the ground already taken. That’s the separation.
Lands here by default, and that doesn’t make it pointless.
Released under the Burn The Priest name, Legion: XX is a covers record digging into the bands that built Lamb of God’s DNA — Agnostic Front, Bad Brains, Cro-Mags, Melvins, Quicksand. You can hear the respect in every track and the performances have real energy.
But there’s no original material, so it doesn’t push the band anywhere. It’s a look backward. Interesting, not essential.
Where the aggression starts, but not where it’s perfected.
Chaotic, abrasive, and rooted more in grind and early thrash than the groove-driven attack they’d eventually own. Flashes of what’s coming are audible, but it hasn’t locked in yet.
Historically important. Musically, everything after it outclasses it.
This is the only album in their catalog that feels uncertain.
The only album in the catalogue that feels uncertain.
It opens strong and there are individual tracks that hit hard, but it never fully commits to a direction. Ideas move past each other without building momentum, and that lack of cohesion holds it back.
You revisit songs here. Not the record.
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Heavy, sharp, and executed at a high level. Also familiar.
Omens is a band operating comfortably inside a formula they’d already mastered. The performances are tight and the stripped-down live-in-the-room recording approach gives it some edge, but it doesn’t expand the sound in any meaningful way.
Exactly what you expect, and nothing beyond it.
The album that brought them back into focus.
Art Cruz stepping in on drums produced a noticeable shift in energy — the songwriting tightened, and “Memento Mori” is a reminder that this band still knows how to detonate when it matters.
Not a reinvention. A reset that works. And after the circumstances around Chris Adler’s exit, which he’s talked about at length with us, it needed to.
Few albums in the catalogue carry this much weight.
Written after Randy Blythe’s imprisonment in the Czech Republic and subsequent manslaughter trial, it deals with psychological pressure, resilience and survival. “512” — named after his prison cell — hits with genuine emotional depth on top of the heaviness.
Their most personal and most experimental record, and the full story behind it is worth reading.
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 doesn’t carry the cultural weight of the top tier, but on pure consistency it’s among their strongest.
Lean, direct, locked in.
Loaded Radio Recommends – Lamb Of God’s Mark Morton Opens Up About New Solo Album ‘Without The Pain’, Sobriety & More On The Loaded Radio Podcast
Where the identity begins to form.
Raw, aggressive, still evolving — but the core sound is present. Once the groove kicks in you can hear exactly where this band is headed. “Black Label” doesn’t just stand out, it signals the entire future.
Rough around the edges. Foundational.
The surprise of the catalogue.
At this stage most bands are coasting. Lamb of God aren’t. Into Oblivion is sharper, darker and more focused than anyone expected, with tighter songwriting and a genuinely aggressive edge.
It doesn’t lean on nostalgia — it pushes forward. That’s why it lands this high, twenty-six years after the debut.
The breakthrough.
Cleaner production, bigger hooks, and songs that connected well beyond the core metal audience. “Redneck” became a defining track and the rest of the album holds that level.
Their most polished record, and one of their most effective. Guitarist Mark Morton has since gone on to build a substantial solo career — he came on the Loaded Radio Podcast to talk about that side of things.
Where everything locks in.
The aggression tightens, the songwriting sharpens, and the identity fully takes shape. “Ruin” and “11th Hour” don’t just stand out — they define what Lamb of God would become for the next two decades.
There’s a strong argument for this at number one. It’s that important.
The peak. No debate.
From the opening of “Laid To Rest” through to the closing moments, every track hits with purpose. The riffs are sharper, the writing tighter, the execution on another level entirely.
It didn’t just define Lamb of God. It helped define an entire era of American metal — the New Wave Of American Heavy Metal, and the record every band in that movement got measured against.
12. Legion: XX (2018)
11. Burn The Priest (1999)
10. Resolution (2012)
9. Omens (2022)
8. Lamb of God (2020)
7. VII: Sturm Und Drang (2015)
6. Wrath (2009)
5. New American Gospel (2000)
4. Into Oblivion (2026)
3. Sacrament (2006)
2. As The Palaces Burn (2003)
1. Ashes Of The Wake (2004)
Burn The Priest — 1999 (as Burn The Priest)
New American Gospel — 2000
As The Palaces Burn — 2003
Ashes Of The Wake — 2004
Sacrament — 2006
Wrath — 2009
Resolution — 2012
VII: Sturm Und Drang — 2015
Legion: XX — 2018 (as Burn The Priest)
Lamb of God — 2020
Omens — 2022
Into Oblivion — 2026
If you didn’t disagree with at least one placement, something’s off.
Move Sacrament. Push Wrath. Defend VII higher. Argue that As The Palaces Burn is the real peak — plenty of people do, and it’s the most defensible challenge on the list.
But the top spot isn’t moving.
If you want more of this, the full Loaded Radio rankings archive is here, and the In Flames discography is the closest thing to a companion piece — another band whose evolution split its own fanbase down the middle.
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Ashes Of The Wake, released in 2004. It’s the most complete record in the catalogue — every track lands with purpose, the riffing is at its sharpest, and “Laid To Rest” remains the definitive Lamb of God song. Beyond the band, it’s one of the records that defined the New Wave Of American Heavy Metal. As The Palaces Burn (2003) is the most credible challenger.
Ten studio albums under the Lamb of God name: New American Gospel (2000), As The Palaces Burn (2003), Ashes Of The Wake (2004), Sacrament (2006), Wrath (2009), Resolution (2012), VII: Sturm Und Drang (2015), Lamb of God (2020), Omens (2022) and Into Oblivion (2026). Two further releases exist under the band’s original name, Burn The Priest: the 1999 debut and the 2018 covers album Legion: XX — bringing the full catalogue to twelve.
Sacrament (2006). Cleaner production and bigger hooks pushed the band well beyond the core metal audience, with “Redneck” becoming their defining crossover track. Ashes Of The Wake had already established them within metal; Sacrament expanded that reach globally.
The band formed as Burn The Priest in 1994 and released their self-titled debut under that name in 1999, but found venues and promoters reluctant to book them because of the name’s connotations. They became Lamb of God in 1999. They briefly revived the original name for the 2018 covers record Legion: XX to mark twenty years since that debut.
Yes. They released Into Oblivion in 2026 and continue to tour internationally, including a heavy presence across the 2026 festival season. The current lineup is Randy Blythe, Mark Morton, Willie Adler, John Campbell and Art Cruz, who replaced founding drummer Chris Adler in 2019.
Twelve records, twenty-seven years, and one album nothing else touches. Think As The Palaces Burn deserves the crown instead? Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
The post Lamb of God Discography: Every Album Ranked 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.