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LUCIFER
Lucifer III

Century Media (2020)
Rating: 9/10

Galloping from their clandestine coven like some phantasmal mare and black carriages comes Lucifer’s latest offering to the altar of sacrifice.

In spite of the swirling black tassels of Johanna Sadonis, the wistful promotional videos, the snappy coffin creak riffs and wisps of funereal fog, there’s always been something more to Lucifer than being just another female-fronted occult-influenced rock act. Three albums in and I’m still singing the praises of a band that matures with each release, proving themselves to be torch bearers of a scene bogged down by all too familiar tales of witches hats and big, black cats n’ cauldrons.

The two promotional lead off tracks for this album more than testify as to how cool this band is; ‘Midnight Phantom’ is the natural evolution from the original cult occult rockers Coven who seemingly centuries ago married seductive, grooves with occasional harder edged glints of gargoyles and ghouls.

Johanna Sadonis remains mesmerising vocally and physically, a wondrous and wistful presence cloaked in black as fog, albeit from a well-oiled machine, laps at her leather boots. And behind her, the merry band of worshippers concoct a bewitching blend of throwback rock made all the more relevant by its snappy, rock n’ roll effervescent fumes.

Nicke Andersson’s drums are punchy and poisonous; timely reminders of a natural 70s vibe held in tandem with the cool licks and leads provided by Martin Nordin and Linus Björklund, both of whom provide a vital yet refreshing backbone to a sound that could so easily become stale, but refuses to due to its constant changing melodies, brisk harmonies and sinister groove.

The bass of Harald Göthblad crackles nicely in time with the flickering embers of the nightside fire as the quintet embraces us one more time with a swagger that seems familiar yet oh so joyously infectious. “This is the last goodbye…” mourns Johanna, prompting me to provide extra handclaps.

Then it’s off to the more placid chimes of ‘Leather Demon’, a slow-building trickle of seductive croons as Sadonis smokes “That’s what it takes to light the fire in your eyes”. This as pure molten soul drips from the eaves while perched up against early Danzig for stark realisation and black serenading. “They call you leather demon” the singer wails like some haunting sea banshee whose cries outweigh the brooding storm claps and thunder peals; a stirring lead break through the sinister yet slow-moving elegance.

As a promotional pairing, both ‘Midnight Phantom’ and ‘Leather Demon’ are perfect yet contrasting grooves to kick this album’s release into gear. And so on to the rest of the tracks…

Opener ‘Ghosts’ has a weighty galloping drive. This one is a straight up edgy rocker, and it’s rather interesting to see some commentators state that the song’s like hearing Black Sabbath fronted by Olivia Newton-John. And that’s a compliment to Johanna Sadonis’ mystical yet dulcet tones as the combo drifts into another slower segment of apparent menace fired by a meandering solo.

Meanwhile, ‘Lucifer’ is pretty much a rolling ode to the lord of the fiery depths. “They call him the Devil… the ruler of hellfire” muses Sadonis to another killer, swaggering riff. “He is the master of my delights, his eyes are burning all through the night”. It’s simple yet effective ‘70s-styled coolness straight from the Hammer Horror spell book of sound.

However, it’s with the likes of ‘Pacific Blues’ where the band really ups its craft. Bordering on a wistful late-60s psychedelia, this track breezes by with a lacing of darker riffage and stabbing constant drum before Sadonis’ tone rises out of the ashes to meet the black sky. “Wild horses could never tear me away from you” she barks, the 60s and 70s influence oh so thick but benefitting by the overall floating, subtle nature of the sound in general, in spite of that occult rock buzz that provides the spine.

‘Coffin Fever’ is one of the album’s weightiest moment, an all out doom rocker that lumbers heavily, snaking between the headstones as Sadonis cries “All I see is blackness…”. Once again I’m reminded of Danzig before that tambourine shimmers with ethereal delight. “Set me freeeeee…” demands the vocalist, her ghostly sighs caressing those sunken gravestones like some otherworldly fog.

The upbeat ‘Flanked By Snakes’ is very much a pub rock groove, bouncing merrily with doomier flecks, and ‘Stay Astray’ hints at a 50s a-go-go surf / garage vibe initially, before following a catchy path. “Lonely is the night for those who walk my way” Sadonis wails, the track bringing subtle chimes before driving back to killer band harmonies and snaking swagger.

‘Cemetery Eyes’ closes the album, beginning with timely percussive nods and stark guitar. A semi-ballad in some respects, the song builds steadily as another simple groover that flaunts with the epic. The whole track, like the rest of the album, seductively teasing us, beckoning us with a witchy finger into its misty coven.

There’s just no denying the effortless manner with which Lucifer construct their songs. This is the sort of witchcraft that separates them from the glut; a hidden formula that dabbles with the past but just enough so as to not become a mere novelty throwback.

Lucifer’s latest spell is cast, the web of woe and wistful wonder acting as a blanket of the countryside like some brooding folk horror tale that speaks of will-o-the-wisps and corpse candles as it teases us to the edge of its murky mire. Only the figure of Johanna Sadonis is visible, adorned in black, waif-like yet stunningly toying us with temptation. All the while upon the breeze is that sound, always brooding, often half-hinted and sauntering. And as we follow, almost against our will, it’s all too late when we realise that we’re entangled in thorns and engulfed in fog.

The Devil moves in mysterious ways… and Lucifer’s third opus is such an example. A gorgeous yet ghoulish soundtrack for when the Devil rides out.

Neil Arnold

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