Uywamy plików cookie i podobnych niezbdnych narzdzi, aby umoliwia Ci dokonywanie zakupów, poprawi Twoje dowiadczenia zakupowe oraz wiadczy usugi, tak jak opisano to w Informacji na temat plików cookie. Love it or hate it, the sound is unmistakably Volbeat. Ustaw preferencje dotyczce plików cookie. 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. 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.
Elsewhere, “The Awakening of Bonnie Parker” contains vivid storytelling and spoken word parts from Poulsen.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. 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. The post Album Review: Volbeat Keep Bringing the Hooks on Rewind, Replay, Rebound appeared first on Consequence of Sound.