ALBUM REVIEW: OPUS NOIR Vol. 2 – Lord Of The Lost
Finishing in last place at the Eurovision Song Contest is normally a death sentence for a career in music. Hell, winning the damn thing is hardly a pathway to riches, but against all established wisdom, LORD OF THE LOST are now on the rise. Granted, the Germans benefited from having an established history prior to their Eurovision appearance, but it is nice to see them continuing to grow and avoiding the bargain bin. Only earning 18 points hasn’t dented their popularity.
OPUS NOIR Vol. 2 is their second post-Eurovision album and further proof that Blood And Glitter wasn’t a fluke. These guys have a knack for writing effortlessly catchy songs that are full of melancholic grandeur. This is the middle chapter of their ambitious OPVS NOIR trilogy, and while it’s got a more hopeful tone than its predecessor, it’s the perfect soundtrack to the bleak December winter. If you’re intending to spend Christmas grieving your lost Lenore and arguing with a stubborn raven, this would make a good musical accompaniment.
They’re also ideal for anyone who enjoys the high theatricality of bands like GHOST and CREEPER, but has an urging for something a bit darker. The Fall From Grace and One Of Us Will Be Next are overflowing with memorable hooks and danceable melodies, but they’re unmistakeably a metal band at heart. The Last Star might have an arena-eyeing pop chorus, but it’s also got some throat-shredding screams and industrialised guitar riffs.
Alongside this, there’s the massive What Have We Become, which features a scene-stealing performance from IAMX. It’s bold, cinematic, and so melodramatic it could have been lifted from a Broadway musical. Winter’s Dying Heart is an icy mini-epic that recalls SABATON’s testosterone-addled ballads, and there’s a welcome appearance from fellow Eurovision alumni KAARIJA. He lends his hyperactive attitude to the aptly named Raveyard and turns it into a rump-shaking vampire party.
For all the ice and sorrow however, OPUS NOIR Vol. 2 is at its best when LORD OF THE LOST embrace their trashier side. The turbo-charged Scarlight is arguably the best song on here, and it’s a delight. Atmospheric synths and one deliriously upbeat guitar solo lend it a vibrant edge, Chris Harms puts in an especially charismatic vocal performance, and it winds up as a beautifully life-affirming highlight. The following Break The Silence is no slouch either; it dials up the Gothic melancholy to ridiculous levels and features an emotional duet with Anna Bruner of EXIT EDEN.
So even if LORD OF THE LOST’s shot at mainstream fame lasted no longer than a flickering candle flame, there’s plenty to celebrate. OPUS NOIR Vol. 2 is a noticeable improvement on its predecessor, and a delicious Gothic feast to see out the last weeks of 2025. This is the record that all the ex-theatre kids in the metal world will want in their stockings this year.
Rating: 8/10
OPUS NOIR Vol. 2 is out now via Napalm Records.
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