LORD OF THE LOST

Releasing three full-length albums in less than a year is a fairly audacious conceit for any band to pull off. But if nothing else, LORD OF THE LOST do not suffer from a lack of ambition. "Opvs Noir Vol. 3" is, as its title suggests, the third part in a trilogy that begun in August last year, continued in December, and now reaches its magnificent conclusion with another batch of finely tooled, gothic metal bangers from the prolific and persistent Germans. If you enjoyed the first two installments in the series, the third one will be very much to your liking.

As with both previous volumes, "Opvs Noir Vol. 3" presents a diverse outpouring of familiar but fizzingly fresh musical ideas, all wearing far too much mascara and rubber trousers that must be hazardous to the health of the average goth's genitals. Partly electronic, partly grandiose and overblown, but always underpinned by sturdy, state-of-the-art metal, these ten missives from the gloomy shadows wear their dark pop sensibilities with pride, while also adding a few new elements to LORD OF THE LOST's trademark, multi-dimensional sound. There are few real surprises, but this is very much the equal of its two predecessors and also contains some of the best songs to appear of any of these records. The opening "Kill The Lights" is a fine example of how the Germans have made this style of electro-goth bombast their own. Bullish and powerful, but effortlessly sharp and catchy, it sounds like a soon-to-be essential show opener. Similarly, "I Hate People" heralds the assimilation of Wednesday 13 into the LORD OF THE LOST sonic firmament, and it could not be a more effective meeting of minds, as the former MURDERDOLL joins with vocalist Chris Harms in listing a variety of reasons why people absolutely fucking suck. It's a noble sentiment, incredibly easy to agree with, and a badass slice of snotty and obnoxious goth-metal sleaze. What, as they say, is not to like?

Elsewhere, "Square One" is an understated gem that might just be the finest "Opvs Noir" song of all. It's a low-key, morbid radio rock tune with more than a hint of BILLY IDOL and THE 69 EYES, but Harms's tense but emotive vocal lifts it to another level. Similarly, "Your Love Is Colder Than Death" is a lithe and lean burst of spooked-out '80s metal, with a triumphant chorus that sounds more vitriolic than heartbroken. Meanwhile, the closing "The Days Of Our Lives" is a stunning way to bow out from this triple-album opulence: as Harms gets melancholy over vast mountains of shimmering synth, a sense that LORD OF THE LOST have both excelled themselves and grown into something monolithic and undeniable is hard to resist. Three albums, three career bests, no problem at all. Sometimes more really is more.