![]() ![]() ![]() You can’t really blame them for wanting to give fans a full helping of the ‘beat, but it can get exhausting, especially since the results diminish in the middle. Just because CDs aren’t a thing anymore doesn’t mean CD bloat doesn’t still exist. 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. In my Sabaton review a few weeks ago, I mentioned that Volbeat are a band whose appeal eludes me. ![]()
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