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You know the feeling when you try the new restaurant in town for the first time ? You order the steak, probably even the T-bone and its plate is nice, the side dish is decent, a green salad or some something healthy like that (if you're on a date, if not, it's of course the fries, you fat slob). The steak looks nice, the exterior has a nice color and its smell is OK but the taste, man, it's way too fat and the inside is way too bloody. There's also an unnecessary amount of melted cheese on it for some unfathomable reason. The chef is experimenting and failing at it. Not everything you decide to mix together can be glorious.
Volbeat is that steak, they're indeed a very original band and I need to give them some credit for their inventive formula. Their artistic approach is not without merits and their intent is noble, well I do think so. Unfortunately, as one of Denmark's most well known bands, they totally missed the opportunity to follow Mercyful Fate into the depths of metal hell (Denner, Shermann and King Diamond are all guests on the record, this reminds me of Metallica Orion's festival, they seem totally disconnected of what metal is in 2013). But why Volbeat missed their boat? Because they fucking suck, that's why.
On their fifth album, the band expands its more than catchy side. They always had these soft songs but I feel it's a bit more prevalent here. It's not necessarily a bad thing since they're not better at being heavy or soft, they're pretty mediocre at both. Volbeat is mixing the alternative era of Metallica with a fair mix of rockabilly, country, blues, pop rock, punk and folk with their usual heavy/groove sound. The amalgamation of genres is simply too much to handle. It doesn't even sound good on paper and it's an awful novelty in its execution.
From sugary FM ballads like “Cape of our Hero” (hell, Chad Kroeger wrote a better song on the Spiderman soundtrack) to lead infused groove (Rob Caggiano, an ex member of Anthrax, he's pretty decent). There's acoustic and clean guitars and all the stuff that can make a good song. I probably wouldn't change the radio channel if I were to find it, but hey I don't listen to the radio because, frankly, it blows. Volbeat is easy, simple and they don't try hard enough. Not as heavy as their early stuff, the band still thinks it's metal enough with tracks like “Room 24” with King Diamond or “Dead But Rising”. The metal ruler of Denmark really destroys Michael Poulsen on this track, well it wasn't quite hard since I think he's a terrible vocalist and the main flaw of their sound.
His pitiful deep southern approach is really grating on my nerves. He kills the band for me since their formula is very vocally focused. His mix of modern day “Yeaaaaah!” James Hetfield and cock charmer Elvis Presley impersonator is like a slap of bad taste on my face. Even though his voice is powerful, his delivery and the sound of his voice annoys me deeply. Nonetheless, he's charismatic and it fits their Americana approach but I wonder how a David Eugene Edwards (16 Horsepower & Wovenhand) would sound in a metal band. At least he can write decent noir and pulp inspired lyrics but after five albums, the theme is getting a bit redundant. I get it, you like leather jackets, fedoras and you love milkshakes and you go to conventions dressed as James Dean.
While I reckon the band successfully played their cards during their whole career, their flaws are just too important for me to thoroughly enjoy them. Believe me, I tried and I enjoyed Guitar Guitars & Cadillacs Blood back in the day. Quite catchy (well, it's needed since their songwriting is hardly a subtle affair). They seem honest and hardworking but their approach is simply something I can't get behind. Both the form (14 songs, that's just way too much) and the mix of styles that makes the band undeniably cheesy and predictable.
Most of the songs have good parts but they're rarely good all the way through except perhaps the two last tracks, both excellent. I enjoy the beginnings of most tracks like “Black Bart” with its punky overture but the aforementioned vocals ruined the track once again. Many tracks have this western approach like “Lonesome Rider” with a female guest vocalist. It probably would be a hit on CMT if it was advertised enough and honestly, it's not bad. What is bad though is the fact all their sound are not completely combined with each others. You can hear an acoustic intro, some harmonica but then, it changes and they forget their western influences for the rest of the song. Sometimes they remember and play a ten seconds of clean country guitars just to be cool. I'd like to hear a good mix of metal and country since Volbeat can't hardly mix them. I don't quite remember the amount of different influences in their early albums but I have better things to than to go back and listen to them like eating BBQed shrimp and trashing Pabst Blue Ribbon cans.
Some good moments here and there but the vocals are simply too obnoxious to deal with. The band has good solos, sometimes even hints of Megadeth's melodic thrash leads. I just don't care for their music even though it's emotional and catchy. If you already liked Volbeat before, you'll certainly like their latest album even if it's wimpier than their previous releases. They're certainly still terrible and not worth your time. Have you ever met a Volbeat fan? They're as rare as Foo Fighters but for some reasons they're both popular and their albums are gonna be good picks in low price bins.
Metantoine's Magickal Realm
The fact that Volbeat’s first two records were not even available stateside is astonishing considering the impact and media attention a new release garners. For their latest release they hired ex-Anthrax guitarist Rob Caggiano to co-produce with longtime producer Jacob Hansen. The partnership was so dynamic Caggiano joined the band full time during the sessions. The Danish rockabilly metal titans have just released their fifth full-length record Outlaw Gentlemen & Shady Ladies.
Denmark’s Volbeat finally broke through to American audiences with 2008s Guitar Gangsters & Cadillac Blood and 2010s Beyond Hell / Above Heaven. Sporting massive rock radio singles “Fallen”, “Still Counting” and “A Warrior’s Call” and non stop touring have propelled Volbeat to one of the premier metal bands on the scene today. The amazing aspect about Volbeat is despite their propulsion of success they have constantly kept a toe firmly rooted in the underground. For every rock radio song they create, they equally write facemelters that would make any metalhead proud. In truth, the metal community should rally around Volbeat because they are the perfect ambassador to represent what we love and respect so much.
They are one of the few bands that has gained notoriety that isn’t drenched in nu-metal or metalcore. How many bands on rock radio today can boast that the legendary King Diamond & Barney Greenway have made guest appearances on their records? Regardless if their style of music falls into a genre you prefer you have to respect that their hearts are in the right place as their love for metal is undeniable. Outlaw Gentlemen & Shady Ladies finds the band at their finest. Drawing on a diverse array of influences that include metal, punk and rockabilly, all sides of Volbeat find their way into the landscape. Vocalist Michael Poulsen is the perfect cross between James Hetfield, Elvis Presley and Mike Ness of Social Distortion.
The band does an excellent job accentuating all of their diverse influences to their extreme. The pop sensibilities of first single “Cape Of Our Hero” and “Lola Montez” showcase the band writing their catchiest melodies to date. The tenderness and emotional delivery of the former and the 80s synth added to the later brings a side to Volbeat that we haven’t seen yet. “Room 24” featuring the infamous King Diamond is the bands heaviest song to date. A mix of Mercyful Fate meets Black Sabbath the singers weave in and out of each other fluently. The King sounds better than ever and shows why he is one of the greatest vocalists to ever live. With their Metallica inspired riffing “Dead But Rising” and “Doc Holliday” punctuate why Volbeat is foremost a metal band.
Another outstanding guest appearance is Sarah Blackwood of Canada’s Walk off the Earth on the rockabilly inspired “Lonesome Rider.” The chorus is one of the most addictive of their career. Also included is a cover of Young the Giants alternative hit “My Body”, which is expertly done as it comes across more as a Volbeat original than a cover. Volbeat have delivered yet again and are quickly compiling a catalog that is as solid as anyone over the last ten years. With the release of Outlaw Gentlemen & Shady Ladies there is enough diversity that any music fan can sink their teeth into it. Volbeat should be celebrated as they can bring metal back to the forefront. The band the metal community has been waiting for has been right in front of our eyes the whole time.
- Originally Published at About.Com Heavy Metal
I’ve heard Volbeat‘s name being thrown around for quite some time now, but never really thought of checking them out until a friend brought them up a couple of months back, telling me to check their performance at Wacken 2012 out. Since it was professionally filmed footage of their entire set, I thought “why the hell not?” and got instantly hooked on their groovy yet heavy music.
So here we are with Volbeat‘s new album, Outlaw Gentlemen & Shady Ladies, and I have to say there is not a single moment where I don’t find myself enjoying the stuff that the band has placed on the album. The album Intro quickly gives a quick hint to the band’s country/Southern tendencies, and the acoustic guitars and the harp all give a nice buildup in the album. And as soon as Pearl Hart begins, it is one non-stop groovy journey for the listener, as the familiar and charismatic voice of Michael Poulson (the very thing that attracted me to Volbeat in the first place) comes on the audio.
The stuff that is on Outlaw Gentlemen & Shady Ladies see the band further polishing their style, with the big riffs and hooks being extremely radio-friendly, yet maintaining the heaviness and intensity that makes them such a charming act, with songs like Cape of Our Hero. Also, as usual the band has managed to bring in a rather wide range of influences on the album, ranging from the usual country influences, to rock and roll to early Metallica-styled thrash metal, like on the heavy riffs on the intro of Dead but Rising. Along with that there are the also rather subtle displays of technicality, in particular the drumming of Jon who manages to switch styles with complete ease.
There is also a whole host of guest musicians that are present on the album, and perhaps the most prominent one is King Diamond on Room 24, lending his vocals to what is already an excellent album. It is also here where the band displays their ability to write any form of music at all, with the sections with King Diamond‘s vocals being rather suitable for his classic brand of heavy metal, reminding me of my first encounter with Abigail, easily sending chills down my back. Sarah Blackwood’s vocal contributions on Lonesome Rider also adds some nice sex appeal as well, with her vocals being extremely enchanting, and with songs like that on the album, it ensures that one’s ride will never really be lonesome.
If you're familiar with Volbeat already, and like their music, this album is a pleasant addition to an impressive collection. They remain true to their country/western/metal/rock and roll/punk style without much change or improvement (read: they've clearly got their shit together).
If you're not familiar with Volbeat: there's always the classic comparison, "Metallica meets Johnny Cash" but I always took a slightly different approach. With Volbeat, you have a variation among the songs they put out; some are heavy, mostly in the realm of post-Ride the Lightning Metallica. Others are poppier, but hardly generic, rock songs that I think Volbeat are mostly known for; this is where the rock 'n roll and country sounds really come through, often with some heavier elements and ideas and present (although they often don't take center stage). These songs are catchy and bright. Thanks to this variation, listening to this album left me both headbanging and singing along throughout.
The album starts off promising, beginning with a few killer tracks; the opening instrumental (not recommended if you're repulsed by country music in general) sets a neat tone, leading into "Pearl Hart" and "The Nameless One"; both are insanely catchy and are sure to get stuck in your head immediately, although hardly in the realm of metal. Nevertheless, these are more or less two quintessential Volbeat songs in my opinion, and excellent rock songs at that. Other recommendations for songs in the vein that I enjoyed are "Lola Montez", "My Body", and "The Sinner is You"
Moving through the album, we hear the metal elements that qualifies the band to be on this page. In particular, we have a pair of the songs in the middle of the album, "Room 24" and "The Hangman's Body Count" that are an excellent showcase of what the band is capable of. The first is fast and heavy, and features King Diamond's soaring/screeching vocals (I'm usually not partial to King Diamond, but he performed well on this track, complementing both the music and Michael Poulsen's singing). The second one begins with a compelling lead guitar track on top of a western-sounding acoustic progression, breaking into a heavy riff about a minute in. Other songs that are heavier and worth a good listen are "Dead But Rising" and "Doc Holliday" (side note, don't let the banjo intro fool you on this one!).
Nothing is perfect, and as such, the only track I would recommend avoiding is "Lonesome Rider", which features a talented female vocalist. Unfortunately, the song itself doesn't really jive with everything else Volbeat is doing, and sounds more like a crummy indie-folk songs (pardon my redundancy) and is sure to leave any listener knowing to look for a review of this album on a metal forum scratching their head in confusion. All in all, however, this was a solid release with (almost) every track offering something interesting, fun, and really catchy.