Lion’s Law are slowly becoming veterans of the scene. After thirteen years of existence, they belong among the most active touring bands, well-known for the raw energy of their live performances. Putting aside Si Le Ciel Vient À Tomber—an album featuring French-language versions of older songs—this is the band’s fifth full-length release. Considering their output of numerous singles and splits, I’d say that’s a solid level of productivity, especially given that the band was formed in 2012.

Over the years, Lion’s Law have carved out a distinct style—a dense streetpunk sound with powerful vocals—which they continue to develop on this album. The record contains twelve new tracks, an intro titled Overture that kicks off the B-side, and a closing cover, I Ran, originally by the new wave band A Flock of Seagulls from 1982. Interestingly, Lion’s Law managed to translate that new wave vibe into their own style with impressive finesse.

The opening track, Paris, protests against the gentrification of the city, which is becoming increasingly unaffordable for ordinary people. Anyone living in a big city knows the feeling—bars turning into trendy boutiques and the cost of urban life spiraling out of control.

For me, Brother is the album’s biggest anthem—a tribute to the kind of friend who stands by your side, even when you don’t see eye to eye. Lonely Road is about the price one pays when choosing between family life and rock’n’roll. But who’s the real winner in the end? The one who settles down, or the one who keeps going down the lonely road doing what he loves?

Back in Time reflects on trying to recapture a moment that’s likely gone—and maybe, the other person no longer cares to revisit it either. Sewer Rats pays homage to all those who found themselves in skinhead and punk culture.

The album maintains a consistently high standard throughout. There are no obvious weak spots—something that has become a hallmark of Lion’s Law. That’s likely one of the reasons why they’re now seen as one of Europe’s leading streetpunk bands. It’s an excellent record, packed with a lot of strong material. By year’s end, it’ll no doubt rank among the most important releases in the genre.

Extinction and The World Is on Fire are both songs about the need to fight back when the world is heading toward disaster—and that the responsibility lies with you. Both tracks share a slightly apocalyptic tone and similar themes. The same atmosphere carries into Crucified, which follows the Overture on side B.

The Code is the track that leans most into hardcore territory, even though it features a melodic chorus. It explores a kind of street code. Before Your Eyes is classic Lion’s Law—mid-tempo streetpunk with a strong melodic chorus and singalong parts. Definitely one of the album’s highlights.

Carved into Stone captures the feeling one gets when visiting historic places—where you feel deeply connected to the past. Evermore has a slightly somber tone, reminiscent of the melancholic tracks from the end of side A. The City That Never Dies is a love letter to Paris and its historical legacy. In contrast to the opening track Paris, which deals with the city’s current state, this song is about history and continuity—something anyone living in a city with a rich past will immediately relate to.

The gatefold edition features artwork by Ramon GD and includes all of the lyrics.

A superb album with a subtly dark undertone and a strong will to face the challenges life throws at you. Highly recommended.

Top tracks: Paris, Brother, Before Your Eyes.
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