Album review : LYNCH MOB – Dancing With The Devil

Frontiers [Release date 28.11.25]

Now white haired and bearded, Septuagenarian Lynch had said a few years back that he would soon be retiring the Lynch Mob name, due to its racist connotations.

And so, Dancing With The Devil, the second album with this line up (vocalist Gabriel Colón, bassist Jaron Gulino, drummer Jimmy D’Anda, plus Lynch), turns out to be the last waltz.

But musically, it seems way too soon.

Lynch’s best albums have momentum, pushing us in one direction down an increasingly absorbing track. Dancing With The Devil proves the point, as he cranks the machine back to the debut album, Wicked Sensation.

Lynch claims he captured “lightning in a bottle” on that one. That was down to his writing and playing of course, but in no small way, vocalist Oni Logan played his part. It’s always much harder to capture it for a second time, as the last 35 years or so will testify, even if now, Colon’s vocals have some similarity to Logan’s.

The band blitz through the edgy ‘Pictures of The Dead’, and the fierce hard rock of ‘Follow Me Down’, riding the line between past and present, balancing metalised riffs and spiralling axe solos with Colón’s skyscraping vocal reach.

After all these years, it seems that Lynch still truly possesses a bottomless pit of sturdy melodies, seismic riffs and razor clawed axework.

And again he’s come up with nugget after nugget of leathery hard rock, filled with stark soundscapes, pierced by shafts of lyrical light that mix social commentary (‘Sea Of Stones’ / ‘The Stranger’) with more soulful, personal stuff, (‘Saints and Sinners’/ ‘Lift up Your Soul’).

In the lexicon of heavy metal and hard rock, the word ‘subtlety’ is often shunned like a soft rock pariah.
Yet, Lynch’s tough as teak, head down hard rock is often finely balanced with axework of delicacy and taste.
The jangle and twang of acoustic instrumental ‘Golden Mirror’ shows us a side we don’t see too often.

Craftsmanship at work, lightning in a bottle, again. ****

Review by Brian McGowan

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