Is Volbeat going to be Rock’s next arena act? It’s a conversation that needs to be had. If Five Finger Death Punch can do it, I don’t see why Volbeat couldn’t. In addition to having toured with the likes of Avenged Sevenfold Anthrax, and FFDP themselves, they’re coming off two straight highly acclaimed, exciting Hard Rock records. Both 2010’s Beyond Hell/Above Heaven and 2013’s Outlaw Gentlemen & Shady Ladies struck an impeccable balance between credibility and commercially viability.
Over 3 years since it came out, I still can’t get enough of Outlaw Gentlemen & Shady Ladies. It’s got infinite energy and endless hooks, and isn’t quite sure whether it wants to be a Rock or Metal record, which affords it considerable breathing room. Active Rock radio listeners eat it up, metalheads (particularly old-school ones) can vibe with it, and the occasional mainstream listener gets pulled in as well. I may be reaching a bit, but it all feels Foo Fighters-esque. I don’t think we’re anywhere close to the peak of Volbeat’s upward trajectory.
Of course, whether this momentum continues is dependent on Seal the Deal & Let’s Boogie, the band’s sixth album set to drop this Friday, June 3rd. Currently, all we have to go on is three pre-release singles. So how is Volbeat’s highly anticipated new LP looking thus far?
The Devil’s Bleeding Crown: I already discussed this one when it dropped in early April. It’s the first single and opening track on Seal the Deal & Let’s Boogie, and it keeps things basic: basic hooks, basic riffs, and predictable structure. It’s solid Rock and Roll through and through, just safe. Michael Poulsen’s voice is as powerful as ever, and this single’s Active Rock radio success is imminent, but I’m getting nothing new out of it. And I could definitely do without that horribly cheesy clapping section.
The Bliss: Self-replication in music is an interesting phenomenon. Is “ripping yourself off” against the rules? Considering the careers of AC/DC, Motorhead, and Slayer, I suppose not. So it shouldn’t matter that certain parts of “The Bliss” earn the song its “Lola Montez 2.0” moniker. The blatant similarities to “Lola Montez” did irk me at first, but the more I’ve listened, the less bothersome it becomes. “The Bliss” is distinct enough from its predecessor, and it’s a lot of fun. It’s a love song of sorts, bursting with positivity and sugar-sweet vocal harmonies. The thumping banjo-centric bridge is an adventurous yet appropriate breather. All in all, the track works. Not to say Volbeat hasn’t “done this before”, but at least it’s less bland than “The Devil’s Bleeding Crown”. Oh, and an alternate version titled “For Evigt” is also available. Check that one out too.
Seal the Deal: My favorite of these 3 singles. Its lead riff is fairly standard sleaze-rock, emitting copious party vibes. The energy never lets up, even as the bridge section slows the tempo momentarily. The chorus is fittingly hook-y, including a well-calculated key change for the song’s final moments. Rob Caggiano serves up a ripping solo as well. Again, not reinventing the wheel, but “Seal the Deal” executes so damn well.
If all thirteen tracks on the LP resemble what we’ve heard thus far, then redundancy is going to be a weighty issue on Seal the Deal & Let’s Boogie. This 3-track sampling suggests we’ll be in for something enjoyable, but nothing special. While we’d all prefer special, enjoyable is not the end of the world. I guess we’ll have to wait and see.