For Denmark's
Volbeat, the truly classic rock era existed from 1953 to about 1986: from
Chuck Berry and
Elvis to the heyday of punk rock and thrash metal, with periods in between where rockabilly, surf, glam, and hard rock flourished.
Volbeat possess the chops, imagination, and swagger to carry it off in front of 50,000 European fans.
Rewind, Replay, Rebound is the band's seventh album; it's appreciably different from what they've done before, but not completely.
Volbeat, led by songwriter, guitarist, and lead vocalist
Michael Poulson, have brought in even more hooks and sophisticated melodies without losing their ability to riff and roar with the best of the metal pack, thanks in no small part to ex-
Anthrax lead guitarist
Rob Caggiano. It's the band's first album to feature new bassist Kaspar Boye Larsen. Produced by longtime collaborator
Jacob Hansen, its 14 songs revolve around themes of immortality and innocence, and how the pursuit of perfection ultimately leads to emptiness.
Opener "Last Day Under the Sun" is inspired by the life and lyrics of
Johnny Cash; it includes welcome re-appearances from backing vocalist Mia Maja and the
Harlem Gospel Choir, with a fist-pumping chorus and enormous, hooky guitars (a la early
Boston). "Pelvis on Fire" is a clash of sounds and eras: It sounds as if a young
Misfits created a medley of their early singles with rockabilly icon
Jack Scott's "The Way I Walk." "Rewind the Exit" is a soaring midtempo ballad with chiming guitars and singalong chorus ballasted by a suspenseful hard rock breakdown in the bridge. "Die to Live" is a charging, melodic punk-cum-rockabilly-cum-Born to Run-era
Springsteen in middle-eight.
Neil Fallon of
Clutch guests on vocals and there's a
Clarence Clemons-esque saxophone break. "When We Were Kids" commences acoustically though that changes quickly; its melody reflects the writing prowess of
Doc Pomus and
Jack Nitzsche before it shifts gears to become a teen anthem worthy of
Queen circa Sheer Heart Attack. "Cloud 9" offers another jewel-like showcase for Maja, who turns the midtempo rocker into the stuff dreams are made of.
Exodus/
Slayer guitarist
Gary Holt delivers a killer solo on the glammed-up "Cheapside Sloggers" before introducing a chugging, guitar-wrangling metal breakdown. Punters were understandably miffed when
Volbeat issued the 38-second "Parasite" as a single. It's presented here as intended: as an intro to "Leviathan" -- its power punk glam riff would make
Johnny Thunders' ghost cheer from beyond. "The Everlasting" is the set outlier; it charges full-on into vintage
Metallica power metal albeit with a trademark
Volbeat chorus for balance. Closer "7:24" is 21st century power pop worthy of
Dwight Twilley with excellent lyrics.
Rewind, Replay, Rebound may be a couple of tracks too long, but when the songs are this great, that's a very small caveat.
Volbeat have long been superstars in their native Europe for quite a while, but this album should go a long way to establishing them as festival headliners across the rest of the globe. ~ Thom Jurek