Well intentioned, but undercooked – die-hard Musers will no doubt be wholly entertained, but the average passer-by may be better served elsewhere. But compared to Jack White’s Fear of the Dawn or Everything Everything’s Raw Data Feel from this year, it all feels tame and regular. Muse flexing their heavier muscle is enjoyable, and there is an unbridled joy when “Won’t Stand Down” lets rip. The charging drum kit and distorted bassline add ballast and textural dimension.
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The guitars charge at one another with 1980s thrash metal abandon, forcing Poulsen to climb above them. 'Shotgun Blues' is darker, edgier, and more ferocious.
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Yet chugging guitars in the verse over a 4/4 drumline sets a middle-of-the-road vibe that boxes the album in. What emerges is a dynamic update of Heaven and Hell 's approach transformed through Volbeat's musicality. Pop sensibilities don’t go ignored either: titular “Will of the People” is carried by a catchy, eponymous vocal refrain. The appeal this time around is a live sound that encompasses all of their back catalogue so far – ranging from the piano balladry of “Ghosts (How Can I Move On)", to the sci-fi glam “Euphoria”. Plug in and play, no deconstructing needed with songs titled “Compliance”, “Liberation” or “We’re Fucking Fucked”. But this is how Muse are, and for their loving, passionate fans it’s part of their charm. What’s similar again with Will of the People is that these are handled with no subtlety. For a while – and largely heralded by frontman Matt Bellamy – the three piece have been heavy on political and socially activist themes, detouring through environmentalism and conspiracy theories too.
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Emerging from the Covid years they return with Will of the People, finding the current state of world affairs troubling, to say the least. It was very Charlie Brooker’s Black Mirror. On 2018’s Simulation Theory they toyed with a synthesised sound instead, contemplating our existence through a technological, space-aged lens. Taking straight up alt-rock and arming it with an extravagant presence, somewhat reminiscent of Queen, they never shy of regularly dipping in and out with distorted, fuzz-laden riffs. It will happen it’s just timing is everything.Since 2006’s Black Holes and Revelations they have also continuously refined their larger-than-life brand of stadium rock. When that’s going to happen, I don’t know. “I’ve got so many good friends in the death metal scene, and I’ve been talking to some of them to one day, when the time is right, sit down and write some old-school death metal. “I do have things at home - I can pick up some few death metal riffs here and there,” he told Heavy TV. A few years ago, Poulsen, who played extreme metal with his first band, Dominus, back in the early ’90s, said that he wouldn’t rule out a return to death metal in future. “Becoming” is taken from Volbeat’s eighth studio album, Servant Of The Mind, which was released last December via Republic Records. So, yeah, ‘Becoming’ has somehow become the LG song.”
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So, we decided, later on to actually dedicate ‘Becoming’ to LG because of the great inspiration that we had in that song. A review on Rewind, Replay, Rebound, the seventh full album from Denmark’s Volbeat.Please Like, Comment, and Subscribe. And we were always hanging out when it was it was possible, and talking and helping each other out, as well.
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I had a lot of great conversations with LG.
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“But later on, of course, we were hearing the sad news about LG passing, a very sad day, and I think it is still very sad that he is not around.