Japanese djent band Little Lilith return with their third EP in the form of Retribution. Their first since 2023’s Strike, though the group has been active with a few singles since then. They originally started out in 2018, but ‘renewed’ in 2021 and have been growing a name for themselves ever since, even making it over to tour Europe after Strike was released. Retribution continues the high-quality output that Little Lilith has been holding with these EP releases, and should easily attract the ears of those looking for some modern metal that doesn’t play by the usual conventions.
The first thing that one will hear with lead-off track “Dystopia” is the heavy djent groove of the guitars and vocalist Lilly’s screams. The contrast between the urgent grooves and caustic screams with more melodic and modern sections is what gives Little Lilith an interesting dynamic. Towards the end of the song, it moves into an almost breakdown-esque slow groove with harsh growls, yet it almost instantly switches back into melodic territory. Lilly is equally capable of pulling off some catchy singing vocals (aided by some slight vocoder assistance), and the melodic grooves and riffing has a refreshing atmosphere to it. “Utopia” comes in with stomping yet playful melodeath-inspired tempos and guitar melodies from Erika, with Lilly singing atop them. The song switches into much more uplifting and melodic territory just prior to the chorus, yet the intricacy in the guitarwork remains. The way it intertwines with the electronics gives it a futuristic feeling, and the grooves surrounded by her fiery solo later on are one of the highlights.
“Daybreak” emerges with more of a traditional groove to it, augmented by some synthwork and layered with some moments of playful guitar melodies. A ripper of a solo awaits, as well as some effective drum battery segments from Yuki. “Daybreak” is also the track that has the strongest basslines from Shiori at hand, providing a noticeable rumble as it progresses. It does seem like they saved the best cut for last, with the title track, providing one final moment of glory for the band to finish up on. The merger of bouncing electronic elements, the vocoder-enhanced cleans from Lilly, and upbeat grooves make for a fun moment that doesn’t hold back on it’s heaviness, particularly with some monster grooves later on, yet is undeniably catchy and melodic in the best ways.
At 14-minutes and 4 tracks, Retribution doesn’t last long but all but demands repeated listens. The combination of furious grooves, soaring melodies, and infectious energy make for a dazzling performance, and Little Lilith holds nothing back. Make no mistake, Little Lilith brings a ton of heaviness and chaos, but dress it up in a catchy formula that should even give them room to expand outside the metal realms without much difficulty. They should be a band to watch as they continue to release new material.