Volbeat – "God of Angels Trust"

SPOILER: It's... another Volbeat album

So I had this deal with my trusty guest reviewer that if he had to review the latest trainwreck of an album from Katatonia, I'd have to review the latest album from Volbeat. (I was gonna do that anyway, so joke's on him.) And one reason we'd both consider it a bit of a dirty deed to have to get into a Volbeat album has a lot to do with the both of us being from Denmark. And, as such, having had plenty of our fair share of the band since its inception. But primarily, it is because Volbeat, while once having had something truly unique going on, seemed to not only repeat the formula in an increasingly more blatant fashion through the years, but also employing increasingly more polished and commercial features.

Man, I remember us tripping on that first album, "The Strength, the Sound, the Songs" ('05 – holy shit, that's 20 years ago!). And I will forever hold to the notion that exactly those songs, with that sound and that strength, are as wicked today as they ever were. "Rebel Monster", "Caroline Leaving", "Pool of Booze…" Shit, even that cover of Dusty Springfield's "I only Wanna Be With You" had its surprising merit, given its fresh packaging in a fat, juicy metal sound. And even "Soulweeper", in all its shameless cultivation of that early '60s I-VIm-IV-V doo-wop cadence, sounded just as fresh and innovative – a perfect, bold move out of left field, resulting in an instant, successful conquering of new territory.

And shit, they kept it going on the follow-up. Tunes like "Sad Man's Tongue" and "Devil or the Blue Cat's Song" were just as original, innovative, and ass-kicking. Even much later stuff like "Doc Holliday", along with guest appearances from prominent profiles like King Diamond and Mille Petrozza, sustained Volbeat's metal credibility and justified their continued existence. But on the flip side, there was boring autopilot stuff like "Cape of Our Hero" and borderline-horrid stuff like "The Garden's Tale". Man, especially the latter...

Some people seem to think that having former Anthrax guitarist Rob Caggiano on board played a big part in the band leaning towards a more commercial direction. And given the relatively recent departure of Caggiano, and him being replaced by Flemming C. Lund, formerly of criminally overlooked Danish death metal outfit Autumn Leaves, that notion appears to have some truth to it. Either way, Volbeat upped the metal on this new one. And while I haven't been following along, I'd still say it's about bloody time.

This doesn't mean that the songs are particularly interesting, though. Opener "Devils Are Awake" has the unmistakable sound of Volbeat – if nothing else, then given away by Poulsen's resonant vocals. But the rhythm figure and the melody are unimaginative and just as forgettable as the otherwise badass C-part. The riffing is hella metal, but everything here has been heard before, both more inspired and eye-opening.

If you're one of those people who, for some reason, can't get enough of anything that the band does, you're obviously also gonna love this. But if, like me, you've long had enough, it's predictable and tiring.

Sophomore cut "By a Monster's Hand" has a bit more going on for it in the memorability department, and it's damn well heavy metal whether I like it or not. I kinda do, though. But there's just A LOT of open-E chugging going on here, and it's not exactly as inspiring as you would expect from the band if you'd just heard the debut. Also, one line that does stick is the chorus conclusion "It goes on and on and on and on". But just like all the tropes that surround it, I have heard this particular line somewhere very particular before. It's so obvious I'm not even gonna say where; you should all damn well recognize it.

Then, of course, there are a coupla Major-key songs. Yeah, gotta have some of those on a Volbeat album. I could name-drop their titles, but it wouldn't matter a whole lot, because they're just as in-one-ear-out-the-other as any other token Major-key song on any Volbeat album since… yeah, I'm just gonna say 2010. Shit, one of them even sounds like Coldplay. Not that I mind Coldplay, but that's not why I'm putting on a supposed hard rock album. If you're one of those people who, for some reason, can't get enough of anything that the band does, you're obviously also gonna love this. But if, like me, you've long had enough, it's predictable and tiring.

In spite of all this, "God of Angels Trust" does evolve. It's a bit uphill, though; the uptempo "Demonic Depression", for example, actually starts out hella rad with a double-kick drum motorcycle drive and some actual wicked metal riffing. But then, a pure standard 2-chord chorus. I can tell exactly how it's gonna play out, and waddyaknow, it plays out in exactly that way.

Also the try-hard-titled "In the Barn of the Goat Giving Birth to Satan's Spawn in a Dying World of Doom" has some quality going for it; it starts off as one of those country-like Volbeat songs where Poulsen utilizes a Glenn Danzig-like vocal style and sings Johnny Cash-like lyrics. And indeed, in this one, he's brassy enough to incorporate the phrase "I walk the line". Yes, I shit you not. But the whole expression has its merit, and the break leading into a shuffle drive is a neat feature. However, the melodies are virtually non-existing; it's simply standard-Volbeat with the tune centred around the fifth and the lyrics squeezed into some blues phrasings.

At this point, nothing that Volbeat does really is that momentous or overwhelmingly awesome any longer. But they're keeping metal alive for a relatively new generation, and all else being equal, that's a good thing.

At this point, I don't feel compelled to rate any higher than 3/6. But past midway, "Better Be Fueled Than Tamed" – one of those rockabilly-like Volbeat songs – delivers some welcome variation and fresh uptempo energy. I'm getting more of an impression that each song does have a bit of distinct personality to it. And then, there's shredding and Slayer-style riffage. Hell yeah, this actually fucking bangs. And follow-up "At the End of the Sirens" is just as metal, sounding a bit like newer Metallica, and Poulsen's voice being invocationally intense. Whereas on side 1, I felt like it's metal, but it's not original, on side 2, I feel like it's not original, but it's metal.

And holy shit, upon my conclusive spin, I find myself humming the chorus of "Lonely Fields". Well, damn: Not only do we have a memorable song here, but it doesn't stick due to being childishly simplistic or hysterical; it's simply a classy little tune. How about that?! Also album closer "Enlighten the Disorder" rocks impeccably. And hey, if you're a decent human being, you'd prefer having this in the background over virtually anything that usually pops up when turning on a radio these days. Or going to the gym, or to a café, or shopping. Hell, going outside.

Anyway. It's cool that Volbeat have kinda invented their own little americana-inspired corner of hard rock and heavy metal. However, unless maybe you're one of those metalheads who's strangely fascinated by Nascar and who's experienced having a few too many at a family gathering and actively making a pass at your cousin, "God of Devils Trust" will hold no revelative moments whatsoever. Because at this point, nothing that Volbeat does really is that momentous or overwhelmingly awesome any longer. But they're keeping metal alive for a relatively new generation, and all else being equal, that's a good thing.

Rating: 3.5 out of 6

Genre: Heavy metal / hard rock
Release date: 6/6/2025
Label: Vertigo
Producer: Jacob Hansen