The time has come for Germany’s Lord of the Lost, founded in 2007, to present the final installment in their incredibly ambitious 33-song OPVS NOIR trilogy, Vol. 3. Lord of the Lost’s style has always been hard to pigeonhole, and attempting to box them into any one category would be to misunderstand who they are as a band: While Lord of the Lost retain their instantly recognizable artistic trademark, much of their appeal lies in their daring and unpredictable nature. They value freedom over adherence to genre rules.
However, it can be said that, on Vol. 3, they beautifully make use of components of dark rock, goth, industrial, electronic, glam, extreme metal, pop, classical, rock opera, even a bit of ambient. One constant is that Lord of the Lost’s sound is always refreshing and accessible. Thus, their fanbase is quite diverse, and the outfit should continue to garner praise from various corners of the music world for what they have just achieved.
OPVS NOIR Vol. 3 is partly defined by epic atmospheres enhanced by synths, piano, and dramatic pomp. The album ominously begins with cello and distorted vocals on “Kill The Lights,” setting the tone for a bleakly romantic journey that will have you asking, “When Did the Love Break”? Although Lord of the Lost avoid guitar wankery in favor of keeping the greater whole in mind, the solos grab listeners by the aching heart when they appear.
Lord of the Lost may bring a heavy veil of gloom, but they are also known for empowering audiences—“I’m a Diamond,” with guest support from Alea of Saltatio Mortis, can be said to do just that. On the one hand, the sparkly, ’80s-inspired, highly catchy “Square One” stands out stylistically as more of a party banger, allowing us an opportunity to recharge. On the other, it demonstrates how lyrical sadness and depth can exist even within Lord of the Lost’s more upbeat moments.
Frontman Chris Harms has always boasted a rare magnetism. His low voice remains easy on the ears after all these years and milestones. He mixes clean singing, semi-spoken vocals, and some harsh attacks. Vol. 3’s duets amplify the offering’s dramatic charm. Speaking of which, the album is not without a healthy sprinkling of humor, as can be found in the, yes, compassionate “I Hate People,” which features Wednesday 13 and emanates a special type of freakish, radioactive energy. The morbid “My Funeral” (“Black is my happy colour… I’m gonna, gonna wear / Pink to my funeral…”) provides further evidence.
Since Vol. 3 satisfies such a broad range of preferences, there will likely be disagreements regarding which number may be called the record’s strongest point. That said, “The Shadows Within” just might represent Vol. 3’s highlight, even though other songs are destined to be more popular. Harms handles vocal duties alone on this emotive track, which proves uncomfortably effective in its ability to transport receptive ears, “The shadows within / Will guide us through the light / We join our demons, walking side by side…”
Purchase OPVS NOIR Vol. 3 here.
