![]() ![]() Love it or hate it, the sound is unmistakably Volbeat. Before I start in on my review, I just wanted to give a huge shout out to Budweiser Gardens and Downtown. Its a compelling and authoritative sound that once again manages to combine plenty of muscular Heavy Metal riffery with punk attitude. Whatever genre he’s working in, Poulsen’s songwriting remains stellar, bringing the past to the present and making it feel fresh. “Rewind, Replay, Rebound” is no less diverse than any other record in the band’s discography, however. Volbeat NEW ALBUM OUT AUGUST 2, 2019: Rewind, Replay, Rebound PRE-ORDER 1. Metal was just one element of a wide-ranging sound, and it continues to fade more and more into the background as the years go by. ![]() It would be dishonest if I said I didn’t wish the band brought a little more bite to this album, but Volbeat never has been the pure metal band many seem to think it was in the early days. The heaviest track-and my favorite-is “The Everlasting,” previously heard on last year’s live set “Let’s Boogie! Live from Telia Parken.” The only song I could do without is the limp album closer, “7:24,” even if the sentiment behind it-Poulsen wrote it about the birth of his first child-is sweet and sincere.īacking vocalist Mia Maja and the Harlem Gospel Choir, previously featured on “Seal the Deal,” are back for more throughout the album, adding a different flavor whenever they appear. For those who are fans of Poulsen’s storytelling, there’s “The Awakening of Bonnie Parker,” referring of course to the infamous criminal duo Bonnie and Clyde. The aforementioned “When We Were Kids” starts acoustically and may be the mellowest Volbeat song to date, but just when you think the band is getting soft, an eerie, surf-like guitar riff drives “Sorry Sack of Bones.”Īnother song that sits comfortably in the rock zone, “Cheapside Sloggers,” unexpectedly features the record’s most metal moment-a guitar solo by Exodus/Slayer axe man Gary Holt, while the 37-second “Parasite” is a blast of pure punk rock. Two tracks later, Clutch vocalist Neil Fallon hops on board for “Die to Live,” which has its roots in early rock ‘n’ roll, complete with an instrumental break featuring piano and saxophone, courtesy of Raynier Jacob Jacildo and Doug Corocran from JD McPherson’s band. ![]()
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