The big new twist is the return of more decisive rockabilly elements which, though used sparingly, do give a nice sense of rollick to the hot-under-the-collar swagger of Pelvis On Fire and the sweltering saxophone lines and Neil Fallon bringing all the bug-eyed mania usually found on a Clutch song on Die To Live.
They still know their way around a chunky hard rock riff with the sort of production that’s very classically minded in capturing a burnished, rough-around-the-edges style to match Michael Poulsen’s gigantic, charismatic bellow. It definitely feels like the decreased rigidity has had a lot to do with that as well, as this really isn’t that different sonically from a lot of Volbeat’s other work. Even with the usual flaws and less-than-desirable trappings of a Volbeat album still on show, it says a lot about how thoroughly the band have found their feet once again as the title suggests, this is most definitely a rebound for them. The difference is the degree with which the sense of levity matches with a core desire to be as anthemic as possible, and when that sweet spot is hit (which, for the record, is much more often than it isn’t), there’s a handful of really standout moments on here that might even be among Volbeats highest risers to date. If nothing else, at least, Rewind, Replay, Rebound looks to be breaking away from such a religiously-followed template, but with the baffling decision for the lead song released to be Parasite, a 37-second-long throwaway cut that would be seen as a fragment for the cutting room floor for virtually anyone else, it’s easy to go in skeptically and wonder whether Volbeat actually know what they’re doing here.īut in reality, a lot of those worries prove to be largely unfounded, as Rewind, Replay, Rebound brings back the significant fun factor that’s been missing from Volbeat’s music for a while now, but remaining firmly lodged into the hard rock foundations. It’s no coincidence that their profile started growing when their rock ‘n’ roll and rockabilly influences were shifted aside in favour of straight-laced hard rock, and while that worked to a degree on 2013’s Outlaw Gentlemen & Shady Ladies, replicating the formula three years later on Seal The Deal & Let’s Boogie resulted in an album that was effectively a carbon copy of its predecessor, from sound and themes all the way down to broad track sequencing. The current situation with Volbeat is that they should be a lot better than are, but they’re stuck in a hard rock field that rarely accommodates for the innovation they’re capable of bringing.
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