Lucifer V
Lucifer
Background
Originally from Germany (but with more members hailing from Sweden these days), Lucifer are an occult-inspired doom rock band. Lucifer V (as the Roman numeral implies) is the fifth LP of the band, released on 26 January 2024.
For fans of Blood Ceremony, Girlschool, and Purson.
In a nutshell
The doom rock moniker probably doesn’t fir Lucifer anymore, as they mix and match a plethora of influences here ranging from 1980s pop rock divas and the occasional Sabbath-inspired riffage. There are a couple of highlights here (“Slow Dance in a Crypt” and “The Dead Don’t Speak” are clear highlights).
It’s good to see that they are exploring various styles (and not wholly falling in to the trappings of retro rock), but they are also diluting a lot of the things that makes them one of the front-runners of their niche corner of hard rock.
Track by track
Fallen Angel
A barnstorming into that has all the Dio-led Sabbathic riffs without resorting too much to the retro cliches. Johanna Sadonis’s vocals aren’t showy, but fits the mould perfectly.
At the Mortuary
A slower pace and a much more obvious nod to Black Sabbath. But the song isn’t as doomy as you would expect as the pop-y elements feel more upfront. Not sure a mid-tempo song like this fits here in the running order as it’s a bit of a downer after the opener.
Riding Reaper
A riff that wouldn’t be out of place in an Eagles album, Riding Reaper hits all the right notes as a song that will make you bob your head or sing along, but will also soon forget the moment it’s finished. So, it’s perfect for the radio.
Slow Dance in a Crypt
We are transferred to a dingy, sit-down club in a basement somewhere as Johanna Sadonis starts crooning over a piano-led melody and guitar fills. The lyrics aren’t subtle, which ruins the atmosphere somewhat, but this is the most interesting song so far.
Maculate Heart
It starts off like an outtake from Led Zeppelin III, but it transitions to a wondefully layered pop rock anthem the likes of which wouldn’t be out of place on a Belinda Carlisle album … but with the 1970s doom rock instrumentation and a catchy-as-fuck riffage.
A Coffin Has No Silver Lining
Another nod to the 1970s, but this time to an unexpected Judas Priest. Despite the silly title (which the Priest also had plenty of), it’s a nice enough song but nothing really sticks to mind once it’s over.
The Dead Don’t Speak
It has the most interesting riff on the album (with guitar synths that are way too familiar to late 1980s Iron Maiden overlaid), this wears the occult rock tag proudly on its sleeve. The band also sound a lot looser here; they should do more of this.
Strange Sister
Another rollicking track, which reminded me of the Hit and Run era Girlschool. This is as far removed from occult-rock as possible.
Nothing Left to Lose But My Life
“Farewell to my friends / farewell to my foes” sings Sadonis, which is either signalling for more changes to come in future releases. Which is ironic (I guess?), becuse it sounds more retro rock than any of the other songs on this album.
