VOLBEAT

G.O.A.T.

Since their debut album, The Strength/The Sound/The Songs, Volbeat crashed onto the scene with a bold fusion of rockabilly swagger, country undertones, and a fresh sense of melody, all laid over a solid carpet of heavy metal riffs. It was a unique blend that set them apart, and they’ve stayed remarkably loyal to it. Every time Volbeat releases a new album, the same question arises: Have they changed? Spoiler: no. Have they changed even slightly? Yes. It’s softer than Servant Of The Mind. Does their latest album, God Of Angels Trust, work? Yes. Just like its eight predecessors. For better or worse, Volbeat still sounds exactly like Volbeat, as they always have.

The album begins with ‘Devils Are Awake,’ where a tough riff opens the dance, soon joined by that very recognizable voice guiding us through the melodic chorus, complete with a final slowdown that paves the way for a convincing and engaging solo. ‘By A Monster’s Hand’ was chosen as the first single to present this album. A distinct contemporary Metallica vibe permeates the song, while the melody and solos are compelling and signature Volbeat – perfect for radio. ‘Acid Rain’ opens with a distorted bassline as rockabilly resurfaces, its elegy-like lyrics echoing the recurring theme of loss. While potentially the weakest song on the album, it also brings up a concern that might apply to other tracks: a tendency towards being overly “patinated,” where the polished surface slightly diminishes the raw power of the message.

With ‘Demonic Depression,’ we’re back on the metal side, welcomed by a potent riff supported by double bass drumming and a melancholy chorus in which hope and overcoming despair are central to fighting the temptation to give up. This track is one of the album’s highlights. ‘In the Barn Of The Goat Giving Birth To Satan’s Spawn In A Dying World Of Doom’ is the second single, and here we find another of Volbeat‘s signatures: the country-rock vibe blended with hardcore, and a slight feel of absurdism that creates a fun track fans will surely adore and jump to when played live. ‘Time Will Heal,’ the second ballad and most recent single released to promote the album, sees its lyrics again explore loss and recovering from wounds and pain, with the heart leading the way as time passes. However, despite being brilliantly played, much like ‘Acid Rain,’ the song can feel overly “patinated,” causing its intended meaning to lose some of its power.

‘Better Be Fueled Than Tamed’ and ‘At The End Of The Sirens’ are paired songs with a similar structure: catchy intros and a quick mid-song rhythm change, followed by a return to the initial feel. While the first leans into carefreeness and resilience, the second is slower, almost doomy, and more cacophonous. Fear not; these deliver quintessential Volbeat moments, perfect for those who appreciate their dynamic shifts. ‘Lonely Fields’ is a touching song dedicated to a father and a bond that transcends death. A more subdued riff takes us on a trip through a field, and the sounds of crows alongside keyboards remind us that death is not the end of a journey but perhaps part of it. It stands out as the best ballad on the album. ‘Enlightening The Disorder (By A Monster’s Hand Part 2)’ concludes the album with a final metal shot. It’s a dignified end that critics might label repetitive, much like AC/DC. In contrast, others will love it to bits for its unique sound and coherence.

This album is like Nutella, pizza, or maple syrup; you always know exactly how it will taste, whether you have it in the morning, afternoon, evening, or right before bed. No matter the occasion – funerals, weddings, stag or hen parties, abroad or at home – it just fits. Their ninth album, Volbeat’s G.O.A.T. (God Of Angels Trust), follows the classic motto: “If it ain’t broke, don’t fix it,” and the numbers prove them right. As frontman Michael Poulsen says, “In some ways, it feels like we’ve come full circle. It doesn’t feel like we’re doing our ninth studio album; it feels like we’re on our first album again.”

… And no one disagrees.