REVIEW: Death Lens - What's Left Now?
- Julia Stark
- 2 hours ago
- 3 min read
After the last few years of non-stop touring, a changing lineup, and the devastating state of the world, no one should be surprised by DEATH LENS latest album release being a cathartic liberation for the Southern Californian 4-piece. A project that examines breakups, fascism in the US, and self-worth, What’s Left Now? is an album that epitomises the feeling of the world being against you, even yourself. Released through Epitaph Records on 24th April, What’s Left Now? is the culmination of everything the band has gone through and how they’ve levelled up, with the horizon of opportunity still ahead of them.
Inspired by multiple alt, rock, and punk genres, each track holds a therapeutic significance, individually delivering a unique sound that showcases the full talent of DEATH LENS and how their line-up is entirely unified. What’s Left Now? doesn’t give you time to stop and sit with these feelings before barrelling onward with its post-punk urgency - it’s exactly how it feels to have everything pile up with no end in sight, the only reprieve in the form of frontman Bryan Torres’ punchy vocals and the biting instruments that thunder around him.
Opening with distorted radio and a bachata-inspired intro, Monolith kicks off What’s Left Now? with heavy power and a spacey sound effect cutting through. Torres barely pauses for breath as he unleashes raw vocals and haunting high notes over Ernie Gutierrez and Jhon Reyes ominous guitar riffs and bass lines. Tony Rangel carries the beat from understated to a crispy, roaring rhythm, their sound rising in pitch and power. What’s Left Now? doesn’t let up with its frenetic energy and demanding, switching from Power’s alt-punk feel that’s wired from the off with layered heated vocals, to Out Of My Skin’s more tearing punk-rock rhythm, easing down for a breakdown of Gutierrez and Reyes’ effective guitar licks.
Waiting to Know slows the pace with a cinematic echo and a vulnerable feel throughout, building to distorted guitar and weaving bass that gives way to MILITARIE GUN's featured powerhouse vocals. Blending straight into Drown, the mood changes to a more upbeat pitch and rhythm that’s reminiscent of FOO FIGHTERS, the instruments juxtaposing against the emotive lyrics of “I need some help” faintly in the background, Torres repeatedly calling out “I feel the same again and again…”, as Rangel’s drum rolls progress into a collective crash with the guitars, before Drown fades to feedback. Am I A Drug To You is one of the most vulnerable tracks on the album, a moving expression of going through a break up with simple notes and chords that evoke emotion at a lower, poignant octave, Torres singing “am I a joke to you?” as the instruments rise, his voice breaking over the dreamlike guitars.
Fading in with sound effects, distorted drums and a low, rumbling bass, Saints In The Panic Room touches on a turbulent childhood progressing to a stressful adulthood, the bridge stripped back for a moment before the instruments slam back in in a growing crescendo. DEATH LENS flip back into a post-punk vibe with Off The Edge, reminiscent of many punk-rock bands at their peaks, with a deafening and fast-paced sound and frustration lacing the lyrics “I’m good on my own”. Sticking with the post-punk feel, Useless is as edgy as it gets, all the power lying in the crashing instruments while the vocals sound wearied by the emotion conveyed with the lyrics delivered in a hard-hitting and far too relatable way.
After journeying through all other feelings, Last Call brings the final straw of rage felt after dealing with so much shit, the pace slowing and shifting to something different but still retaining the high energy and bite of this furious track. Pulling Teeth is as dangerous as its title, with a QUEENS OF THE STONE AGE vibe to its anthem-like rhythm throughout, pausing for an alarm sound effect before the beats and guitars synchronise over fired up lyrics. Closing out this cathartic journey for DEATH LENS, Debt Collector is one final blast of power with staccato singing and background yells over a rageful anthem, ending What’s Left Now? with a personal and political war cry.
Score: 9/10
What's Left Now? will be released on 24th April 2026 via Epitaph Records.
Words: Julia Stark
Photos: Derek Pearlman
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