The first 4 tracks on the record are the best example of the multiple headed beast of Volbeat the band have ever presented. ‘The Mirror And The Ripper’ is the best introduction to the album you could possibly get. Its Metallica-sized guitar tone accompanies Michael Poulsen’s massive yet unorthodox voice like a pint does a fag, while ‘Heaven Nor Hell’ begins as a complete AC/DC tribute but quickly transforms into something that’s so ridiculously signature Volbeat it’s not even funny, all the while led along by the inclusion of not one, not two, but THREE harmonica solos (Yeah, a fucking harmonica. And it’s not even annoying. It’s tasteful, it’s improvised, and it’s fucking perfect). Following the softer nature of our first two tracks, Volbeat soon get their metal on with ‘Who They Are’, a song that owes as much to Slayer as it does to Social Distortion. In typical Volbeat fashion, they follow this up with a downright pop song in lead single ‘Fallen’, which boasts a main riff that’s just as catchy and hummable as its gigantic chorus. ‘A Better Believer’ is the only point in the album where you’re reminded of something from their past (say something like ‘Maybellene I Hofteholder’ from their last record), as one of this albums greatest strengths is that it has a feel totally of its own and feels so fantastically separate from any of their previous output. ‘7 Shots’ begins as it means to completely deviate from, its intro sounding like a choice cut from any good Western movie before it throws you into a world of pure 80’s thrash indulgence, hosted of course by Poulsen and a guest spot from Mille Petrozza of Kreator fame. As is customary with Volbeat up to now, they don’t tend to stay in one feel for too long, and as such ‘A New Day’ is not an 80’s inspired metal masterpiece but rather what Metallica would sound like if they started writing Green Day songs, whereas ’16 Dollars’ takes us even further away from the metal world, which tends to happen if the song in question is a 50’s inspired rockabilly throwback, replete with a stand up bass smacking away in the background and a verse melody lifted almost entirely from Aerosmith’s ‘Walk This Way’ (as a matter of fact, the song is namechecked in the lyrics). But as is even more customary with Volbeat, somehow, is that they don’t stay away from metal for too long either. ‘A Warrior’s Call’ is simply one of the best songs they’ve ever written. Composed as an entrance song for Danish boxer Mikkel Kessler, you may be forgiven for expecting a cast-off from the Volbeat B-Side’s vault. You couldn’t be further from the truth. It’s a testosterone-fuelled barrage of weighty riffs and hot-blooded melodies backed with the most simultaneously cliché but forgivable lyrics you’re likely to ever hear. Even the constant use of “LET’S GET READY TO RUMBLE” won’t put you off (and if it does, then I’m sorry, but you’re an awful, awful human being). ‘Magic Zone’ is an example of how Green Day could still write songs that don’t so blatantly catapult into the mainstream, but still sound pretty much exactly the same, while ‘Evelyn’ is without a doubt the heaviest song Volbeat have ever written, and who better to lend a hand to the proceedings than Barney Greenway of Napalm Death? It’s a huge departure for Volbeat in terms of its sheer unrelenting aggression...until THAT chorus comes in, and you’re reminded who you’re listening to. It’s such a genius and subtle juxtaposition that you won’t be able to stop bopping your head (again, if you don’t, you’re an embarrassment to the human race). ‘Being 1’ is the sound of country (FINALLY) being given a punky and abrasive edge, and serves as an easy feedline into our final track. Appropriately entitled ‘Thanks’, it’s simply Volbeat thanking their ever-growing fanbase for all the support. The lyrics are delightfully cheesy, and probably intentionally so, but it’s so difficult to be bothered – Volbeat always seem to pull off what most other bands would never get away with, and not only do they just get away with it, they do it with such undeniable attitude.
You may have noticed throughout reading this how often other bands are referenced in regards to how the songs sound. It’s not a stretch to say that Volbeat’s influences are blatant. But that’s one of their greatest qualities: whereas a band like, for example, Trivium would deny sounding like Metallica at times, Volbeat wear their influences on their sleeve. They aren’t striving to do something original. They aren’t hellbent on a musical revolution. They don’t want to change anyone’s life or be the greatest band in the world. They just want to make music they love to play, and if that comes out sounding like Slayer, Elvis Presley, The Misfits, or all three, so be it. This is the album’s charm, as is the case with everything they’ve put out before. It’s just good fucking music. One of the worst things about falling in love with a somewhat “small” band is that should they ever become the huge, world-conquering commodity that you’re so confused about them not being already, they aren’t “your” band anymore, and you’ll slowly feel yourself becoming less attached to them until they become just another band in your record collection. Despite this definitely being the case with this writer and Volbeat, I can’t deny it nor stress it enough: Volbeat should be fucking huge. Monolithic. Arena-sized. And one day, they will be. All you have to do is do yourselves all a massive favour, and pick this album up. If you don’t like it, I’ll personally give you your money back (Task: which part of this was a lie?). But you will. And as I’ve said before, if you don’t, then I send you my sincerest apologies, but you’re a complete gimp. Get involved.