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Rewind, Replay, Rebound - Volbeat

Art vs. entertainment

At the risk of sounding like an elitist snob, it's easy to understand volbeat'in success. With repetitions and banal sangskabeloner make the accessible singalong-rock to the masses, which is far more entertainment than it is art. Pøbelrock to the grocery Store segment is a genre, which eventually is tough to spot in the musical landscape, but Volbeat is, as obvious inheritors of Big Fat Snake, a shining beacon on the Danish and international scene, when skråles and drink to the sunrise report his arrival. But is there really anything in the way of making as r.ex. AC/DC, and use the same well-known recipe, each time you publish new? No, not at all. If it is the way you want, so peace be with it. Hats off to their success, but the artistic ambition from band's side are extremely difficult to spot.

Rewind, Replay, Rebound , will do a lot of fans quite happy, though it's hardly the plate, they are remembered for. Here is very much a case of "more of the same", and since it is what the people apparently want, so are all happy. As a small child from the fairy tale "the Emperor's New Clothes", there are many in recent years, there have shouted, "well, they have nothing on at all!?", and the cry will no doubt continue, because Volbeat is Volbeat – and they will probably continue to be.

Volbeat play Volbeat on the new Volbeat album.


A gigantic success

This summer take the metal giants, the Band will be on tour in north America, and with him takes the Gojira, Behemoth and Volbeat – the latter ranked higher on the poster than the other two. It is a great accomplishment for a Danish band. In addition, according to streaming service Spotify more of volbeat'in numbers, have been played an eight - or even nine number of times. Actually the song "Still Counting" from the band's third album, Guitar Gangsters & Cadillac Blood, the whole 14 million more viewings than the Aqua's "Barbie Girl."

No one should, by now, be in doubt as to how large Danish Volbeat has been, and one can safely say that they are one of the largest Danish music export since the aforementioned Aqua. But there are still enormously many people who do not care about Volbeat. "The only thing good they have made is the first" and "why the hell are renewing the never?" seems to be the comments, you hear really often, all the while the flames on the jantelovens cruel fire grows larger and hotter. But it has something on? Is Volbeat a singing draft beer systems that cater to the lowest common denominator, or should they in reality have much more recognition than it is the case?

New sound or re-use from the attic?

The group's seventh langspiller are in the pipeline, and has received the title of Rewind, Replay, Rebound. Up to the disc release has both guitarist, Rob Caggiano, and frontman, Michael Poulsen, told that the new songs represent volbeat'in new sound. The importance of developing its general expression can, according to the two gentlemen, not underdrives, and therefore, set the undersigned to listen to the album with immense curiosity; and I also had to get me a bit of a surprise. The first track, "Last Day Under The Sun", witnesses: is the very new tones, as it sounds completely like something Bryan Adams could have written. It is softer, more popped and almost dansevenligt – the start I had not expected. The next track, "the Pelvis On Fire", however, is well known. It is a true copy of the twelve-year-old "Sad Man's Tongue". It is Volbeat, as we know them. You can almost see Glenn Danzig wearing the Elvis costume for himself, while the well-known heavy-boogiewoogie, classic rock'n'roll-shuffle and a appropriate banal lyrics rolls out of the speakers. The record continues with a lot of mixed boiled sweets in accordance with the Volbeat style, albeit a little softer and more subdued than it used to be. Sorry, Poulsen and Caggiano, but said something about a new sound?

"Die to Live" where Neil Fallon of Clutch performs, as well as the "Cheapside Sloggers", as Gary Holt throw a delicious solo, is the album's absolute highlights. Here is a little new to come by, and the numbers in the degree ørehængerpotentiale. The same can in no way be said about the "Sorry Sack of Bones", which is a time root, or on "Cloud Nine", which again is cheap and soft radio-pop. Have I mentioned Bryan Adams? These two intersections is simply ruining the flow of a well-produced, but generally harmless, mediocre, and not particularly exciting Volbeat-plate, which, unfortunately, bears the marks of uopfindsomhed and recycling. And no, this criticism is not the usual song that "sounds completely, as they usually do", but rather a quite literal pointering of harmonies, akkordsammensætninger and melodies not just similar, but exactly identical with anything they've done before – and too many of the disc's fourteen tracks. I find that, frankly speaking, quite thin and lacking in ambition.


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