Pentagram - Lightning in a Bottle

Angry Metal Guy 50

Pentagram don’t get the respect they deserve considering their place in metal history. Rising from the primordial ooze of the Virginia music scene in 1971, they can arguably claim to be the first American heavy metal band¹ and it’s indisputable that they were the first American doom act. Despite this rarefied standing, they remain a truly underground act to this day. Their 1985 self-titled debut is a minor classic in the doomverse, showcasing a rough, gritty take on the classic Black Sabbath sound, earning them the descriptor of “street doom.” The 1987 follow-up Day of Reckoning was more polished and features what may be the single greatest doom song ever (“Burning Savior”). Despite talent and a unique sound, internal turmoil, endless lineup changes, drug dependency issues, and incarcerations slowed Pentagram’s roll to a crawl and eventually, a stall, with only 5 full-lengths released between 1988 and 2015. Lightning in a Bottle is the first album in 9 years and long-time guitarist Victor Griffin (Place of Skulls) is sadly absent, leaving only founding vocalist Bobby Liebling to steer the ship. With the band his to do with as he pleases, what does Pentagram sound like in 2025? That’s the big question here.

While Pentagram’s sound profile has shifted around over their 50-plus year career, they were always at their best when merging 60s and 70s hard rock with the doom sounds made famous by Sabbath. Lightning in a Bottle finds them moving away from the doom side of their sound somewhat to embrace the retro rock elements more directly. While there are moments that remind of Sabbath, Trouble and The Obsessed, the bulk of the material feels more akin to bluesy biker rock from the late 60s. At times it even reminds me of Clutch, which I was not expecting. Rowdy opener “Live Again” sets the tone with a raucous, hard-rocking charge chaired by a lively performance by Bobby L. There’s a macho swagger to the music not far removed from C.O.C. and Down and the greasy, gritty riffs are easy to enjoy. “In the Panic Room” marries Sabbath riffage with a hard rock ethos that’s very Clutch-y. Even Bobby’s vocals sound vaguely Neil Fallon-esque at times. “I Spoke to Death” is the most like classic Pentagram, with a simple looping doom riff carrying the show. It sounds like a lost cut from Day of Reckoning and it’s very nostalgia-inducing.

Other interesting moments arrive with the dark, moody rock of “Lady Heroin” and the simple but satisfyingly heavy “Thundercrest.” Unfortunately, the album’s back half is considerably weaker than the front, with too many so so rock-based cuts that don’t stick with me. The biggest obstacle for me is the lack of a tangible connection to the sound I’ve come to associate with Pentagram. It seems clear Bobby wanted to go back to his musical roots and away from pure doom, which in itself is fine. Sadly, too much of the material feels like second-rate carbon-dated rock. It’s okay, but not much more, and even the better tracks feel somewhat lukewarm. After such a long wait since 2015s Curious Volume, I hoped for much more than that.

With Bobby as the sole survivor of the endless lineup shuffles, he provides the only true link to the band’s sound. His voice has aged surprisingly well considering the self-destructive life he’s lived. He generally sounds vibrant and vital, and though I miss his creepy evil ghoul vocals, what he does suits the burly rocking material just fine. Tony Reed of Mos Generator does an impressive job channeling the sound of past guitarists like Victor Griffin and Joseph Hasselvander. He freely references the 60s and 70s and of course, Tony Iommi. Sadly, the Iommi-isms are less prominent than I want. Long-time Saint Vitus drummer Henry Vasquez steps in to deliver a manful performance on the kit, thundering away on the skins with fervor. The band is tight and well-traveled. It’s the writing that lets them down.

How much one appreciates Lightning in a Bottle will come down to what they expect to find. I wanted a classic doom album, but this doesn’t really qualify as such. Pentagram will always have a special place in metal history and I’ll always cherish their early output, but I think it’s safe to say their best days are far behind them. There’s some respectable granddad rock here, but not enough to bring me back. Even the legends run out of steam in the fullness of time.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 300 kbps mp3
Label: Heavy Psych Sounds
Websites: pentagramusa.com | facebook.com/pentagramusa | instagram.com/pentagram_usa
Releases Worldwide: January 31st, 2025

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