ALBUM REVIEW: Lion’s Law – The Pain, The Blood and The Sword (Pirates Press Records)

Formed in Paris back in 2012, Lion’s Law have come to be regarded alongside Booze & Glory and Bishops Green as one of the elite modern bands of the worldwide street-punk scene.

One listen to this fourth album and it’s easy to see why; their tunes, musicianship and sheer presence make them a cut above a lot of the bands out there.

They’re far more musically proficient than many people expect an oi! band to be, and there’s certainly plenty of melody alongside their forthright delivery.

Make no mistake, their sound is right in your face, with swaggering guitar, bludgeoning drums and driving bass, while in singer Wattie they have one of the most charismatic frontmen in the business.

Lion’s Law at Rebellion Festival in Blackpool in 2019. Pic: Gary Welford.

After an instrumental intro it’s straight down to business with the ferocious title track, which is followed by 12 more slices of top quality street-punk.

They wear their influences on their sleeve – The Enemy sounds like old-school British oi! bands like The Business or The 4 Skins, and European bands like Discipline are a clear influence on other standout songs like Revenge and The Reaper.

Most of the songs are sung in English, but four of the tracks here are in their native tongue, and the likes of Fidele and Destin Criminel are no less enjoyable for it, as they have a great natural flow, and singalong choruses.

They’re also not afraid of guitar solos which a metal band would be proud of, and one of the songs here, Roses And Fire, has a more hardcore feel to it.

In short, this album demonstrates why Lion’s Law are building such a strong following around the world. Catch them if you can. 8/10.

Lion’s Law at Rebellion Festival in Blackpool in 2019. Pic: Gary Welford.
Gary Welford owner