Servant of the Mind

After two decades, seven previous studio albums, multi-platinum sales, and sold-out concerts across the globe, Denmarks roots Volbeat have remained stubbornly consistent in wielding massive, power and thrash metal riffs, passionate rockabilly swagger, and punk rock attitude. Eighth album Servant of the Mind continues their M.O. while glossing up their sonic approach (a tad) and re-emphasizing the theatrical potential in guitarist/vocalist Michael Poulsens songs. Again produced and mixed by longtime collaborator Jacob Hansen, Servant of the Mind is arguably the darkest, loudest, and heaviest album in their catalog --as well as their most accessible. Written in three months, it was recorded in three weeks. With its roiling drumkit and bass intro, opener "Temple of Ekur" is as epic and excessive as its title. The chugging guitar riff, driving tempo, and Poulsens crystal clean, hooky vocals combine to make it a stadium anthem. "The Sacred Stones" commences with a massive Black Sabbath-like dual guitar riff from Poulsen and Rob Caggiano, underscored by Jon Larsens thudding tom-toms and kick drums and Kaspar Boye Larsens filthy bassline. Poulsen deliberately channels Ronnie James Dio in his singing. What emerges is a dynamic update of Heaven and Hells approach transformed through Volbeats musicality. "Shotgun Blues" is darker, edgier, and more ferocious. The guitars charge at one another with 1980s thrash metal abandon, forcing Poulsen to climb above them. The charging drum kit and distorted bassline add ballast and textural dimension. In typical Volbeat fashion, however, the chorus delivers an infectious lyric hook without sacrificing the heaviness. Contrast this tune with the brutal chug and burn of "Say No More," with its proggy stop-and-start bridge, double-timed drumming, and assaultive guitars. The band know how to throw curve balls, too. "Dagen For" features a guest vocal from Stine Bramsen of Danish pop heroes Alphabeat. Volbeat render it an unapologetic AOR anthem with slick, sheeny 80s production, a cruising tempo, and an irrepressible pop melody perfectly melding Bramsens and Poulsens voices. While the proceeding "The Passenger" answers with a punky 80s thrash vamp through the verse, its refrain offers the kind of pop-metal grandeur only Volbeat and Ghost -- and vintage Blue Oyster Cult, of course -- are capable of summoning. "Becoming" nods at death metal as drums and bass swing under the punishing guitars but again, Poulsen sends it over the top with a fist-pumping refrain. "Step Into Light" is horrific metallic surfabilly with a soulfully resonant vocal. Closer "Lasses Birgitta" enters with edgy, reverbed blues and rockabilly guitar vamps before a thrashing "Paranoid"-esque riff asserts the tunes body. Poulsens vocal keeps the band centered even as he sings of witch burning in 15th century Sweden. Servant of the Mind doesnt offer much in terms of change for Volbeat. But these 13 songs, penned during a time of great global uncertainty, are wonderfully crafted, beautifully recorded, and performed with an incendiary energy. In other words, they all affirm life, fun, and better days ahead. Rock & roll can ask no more. ~ Thom Jurek