High on Fire are often compared to Motörhead, for many reasons: their raw speed, gravelly throats, swaggering attitude, and—lately, especially—consistency. Black Sabbath-style riffing at thrash tempos while Matt Pike sings about arcane creatures: You pretty much already know what a new High on Fire album will sound like, and that’s not to their detriment at all. For almost a decade, they bounced from producer to producer, striking gold with Steve Albini (Blessed Black Wings) and Jack Endino (Death Is This Communion) before pairing with the more commercial Greg Fidelman for with their most anthemic material, on Snakes for the Divine. In Kurt Ballou, they found someone who cut through the mud, making them sound their most extreme without squelching the dynamics. Sticking with Ballou for a third time might make it seem as though there’s nothing new on Electric Messiah, but even though High on Autopilot would still be a thrilling heavy-metal odyssey, subtle changes make all the difference.
High on Fire are by no means obscure, but they’ve tended to live in the shadow of Pike’s other band, Sleep. The former may have a broader body of work, but the latter have a mythology, something to sell beyond the music. (This is not a knock against Sleep, and The Sciences is a welcome comeback.) Sleep rebooted are the band that allowed Pike to quit his day job and get the 1978 El Camino he always dreamed of owning, something even High on Fire’s frequent touring couldn’t achieve. Electric Messiah leans more on the Sabbath side of Pike’s patented MotörSabbath blend, suggesting that Sleep’s renewal is rubbing off on him. “Steps of the Ziggurat/House of Enlil” would be a lightning-fast Sleep song; in High on Fire terms, Pike lets his riffs come to a rolling boil rather than unleash everything out the gate. “God of the Godless” incorporates some of Sleep’s boogie, which gets drowned out when Pike and company go full Slayer. On “The Witch and the Christ,” there’s even a throwback to Blessed Black Wings, where High on Fire were beginning to realize themselves as a metal metal band, even though they hadn’t yet entirely shaken off Sleep’s doomy crunch.
Still, when High on Fire rip, it’s like they’re tearing through the whole universe. Most bands would struggle to even halfway keep up with the way they bash away on “Spewn From the Earth.” The title track was born from a dream—a divine vision, if you will—Pike had where Lemmy was hazing him. Motörhead are so integral to High on Fire’s being that it was only a matter of time before Lemmy himself turned up in one of their songs. High on Fire reimagine their “messiah”—already a larger-than-life figure, but also ultimately a dude who liked women, video poker, and Jack and Cokes—by giving his band’s sheer speed a cosmic thrust. The music’s still dirty as hell, yet there’s a bigger purpose behind it all.