At 14 songs, it starts to get mired down in alternating alt-rock/rockabilly sameness. The penultimate track, “The Everlasting,” which could’ve been a Black AlbumĪs you can tell, there’s a lot going on here. They don’t even get to anything metallic until Production, “Cloud 9” breaks out the power balladry, and “Parasite” gives youĤ0 seconds in pop-punk heaven. “Sorry Sack of Bones” posits an alternate universe in which the Cramps had “Die To Live” pulls in Clutch’s Neil Fallon for a Cheap Trick power-pop Happened if Elvis had survived long enough to make a psychobilly comeback “Pelvis on Fire” conjectures what would’ve At times, it feels like listening to classic rock radio.įirst track “Last Day Under the Sun” brings together INXSĪnd The Darkness into an uplifting anthem that’s less hedonistic than a melding Tour was a consideration, but these songs are clearly meant to be heard way out This one arrives just in time for them to fill This collection of tunes leans particularly hard on theĪrena-aspiring side of their sound. Still, there’s enough heaviness in their background to grandfather them in. Of course, based on these songs, if you didn’t know about their earlier Metallica-influenced albums, you’d be wondering why they’re getting coverage on a metal website at all. Some of the genre-mixing they come up with feels positively inspired. It’s a big, hooky radio rock record that acknowledges that music existed prior to Nirvana. Listening to the Danish act’s seventh full-length, Rewind, Replay, Rebound, I get it.
On Rewind, Replay, Rebound, Volbeat have cut down on the filler and maximized the hooks.In my Sabaton review a few weeks ago, I mentioned that Volbeat are a band whose appeal eludes me. They don’t stray far from their established formula, but do push the limits enough to keep things interesting. The Verdict: Volbeat have produced another fun and eclectic album with a plethora of potential hit singles. A few tracks polish off some of the edge Volbeat had in the past and though they are ridiculously catchy, are also somewhat saccharine. The Bad: The 38-second “Parasite” feels a bit gimmicky, basically amounting to a short section of what could have developed into a really good song. Elsewhere, “The Awakening of Bonnie Parker” contains vivid storytelling and spoken word parts from Poulsen. One of the most unique songs on the album is “Die To Live”, featuring not only Fallon, but also saxophone and piano.
The most distinctive trait of Volbeat is the voice of frontman Michael Poulsen, who channels Elvis on “Pelvis on Fire” with a lot of swagger and attitude, and then does a complete 180 on the tender “7:24”, a song he wrote for his daughter. While the album definitely leans more rock than metal, guitarist Rob Caggiano provides some big riffs on “The Everlasting”, and aforementioned guest Holt brings the heavy with his solo on “Cheapside Sloggers”. The Good: Volbeat’s knack for writing songs with intriguing lyrics and memorable hooks continues with tracks like “Last Day Under the Sun” and the earnest arena rocker “Rewind the Exit”. Volbeat’s latest album finds the band writing some of their most accessible and catchy songs to date, while mixing in a few surprises to add variety, including guest spots from Clutch frontman Neal Fallon and Slayer / Exodus guitarist Gary Holt. Combining heavy riffs with a rockabilly vibe, Volbeat have become one of hard rock’s most successful acts over the past decade, with a string of hit rock singles and their last two albums cracking the Top 10 on the Billboard 200 chart. The Lowdown: Rewind, Replay, Rebound is the seventh studio album from Danish band Volbeat, and the first with bassist Kaspar Boye Larsen.
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