After eight albums of earnest radio rock, it’s finally time for a change for Danish band Volbeat— new album ‘God Of Angels Trust’ promises a darker experience, full of monstrous metal riffs and eerie aesthetics. It’s an interesting idea, especially given the comedic edge that underpins the release: just take the album’s acronym, ‘GOAT,’ as a prime example of how seriously Michael Poulson and company are taking themselves here. It’s dismaying to see the band failing to commit themselves to such a fun concept though— try as they might, Volbeat have ultimately failed to divorce themselves from the bland rock tropes of their past, leading to an album with more potential than actual execution.

As you might have guessed, ‘God Of Angels Trust’ is at its most enthralling when bashing its way through bombastic choruses and grimy guitar riffs. Opening cut ‘Devils are Awake’ kicks things off on a suitably grandiose note, thundering through ripping verses into a pleasant, if somewhat unmemorable, chorus: it’s really the track’s unconventional note choices and furious outro solo that make this a standout, painting Volbeat in a light we’ve not seen them in before. Single ‘By a Monster’s Hand’ continues the darker trend, marching across its four-minute runtime like a killer on the loose: the lead work here only adds to the track’s ominous nature, amping things up to extraordinary heights once those faster drums come racing in.

Even still, it’s disconcerting to see the band dropping the ball on tracks that should be runaway hits. For as punchy as ‘By a Monster’s Hand’ may be, its central hook of “it goes on, and on, and on, and on, and on” is an unsatisfying one, leaving the listener waiting for a climax that never comes— the hilariously titled ‘In the Barn of the Goat Giving Birth to Satan’s Spawn in a Dying World of Doom’ suffers similarly, throwing out notes of infectious country-rock, driving metal and impressive lead guitar without much of a chorus to grab onto. Similarly underwhelming is the record’s sound design, which would be best described as ‘satisfactory:’ the group really aren’t pushing themselves in terms of performance or production here, leaving the record’s heftier moments sounding a tad constrained. These are nitpicks, admittedly, but the feeling that Volbeat could’ve done more to breathe additional life into these tracks nonetheless haunts ‘God Of Angels Trust’ at every turn, dragging down an otherwise promising collection of songs.

These issues are especially annoying to see, given how close the band come to crafting something more powerful— standout track ‘Demonic Depression’ demonstrates the potential of a darker, moodier sound from Volbeat. The song charges like a raging bull, plowing its way through rage-fuelled verses and a true show-stopper of a chorus: not a second feels wasted here, showcasing the band in their most focused and inspired state.

“They call it the deep end of the water line

Whatever it means

But I feel like you're losing out on life

Don't call it the end 'cause I know

You'll be good for a second go”

In spite of minor criticisms, its those more menacing cuts— ‘Devils are Awake,’ ‘Demonic Depression’ and ‘In the Barn…’— that give ‘God Of Angels Trust’ a distinct identity: outside those high points, the album is much more of a mixed bag. Try as he might, Michael Poulson can’t help but pen some more forgettable ballads and bland rock tunes. Neither ‘Acid Rain’ nor ‘Time Will Heal’ are awful songs, but they stick out like a sore thumb when surrounded by heavier and more interesting offerings: the album often suffers from the band’s usual shortcomings in these moments, especially given the extreme (and rather irritating) vocal processing that suffocates tracks like these. With such an extensive back catalogue of radio rock songs behind the band, it’s hard to get excited for lowlights as tepid as this.

Thankfully, Volbeat do manage to commit to an atmosphere by the time ‘God Of Angels Trust’ winds into its final stretch, though the execution here leaves something to be desired. ‘Better Be Fueled than Tamed’ indulges in all the same barreling riffs and Slayer-esque lead parts as the tracks around it, but comes across more exhausting than thrilling: Poulson’s vocal performance across the song is nothing short of grating, stripping the cut of its intended theatrical flare. The band’s charm runs out shockingly fast, leaving ‘At the End of the Sirens’ and ‘Enlighten the Disorder (By a Monster’s Hand Part 2)’ out to dry— though there’s no obvious Achilles’ Heel in these songs, they feel more like an obligatory ending to the record than songs standing on their own appeal.

It’s heartbreaking to witness Volbeat creeping so close to an intriguing sound but fall short: ‘God Of Angels Trust’ isn’t quite the bold reinvention the band were looking for, keeping to an awkward middle ground between safe bets and bold choices. Fans will surely find material to enjoy here, as tracks like ‘Demonic Depression’ and ‘By a Monster’s Hand’ bring their fair share of stomping riffs— the experience is ultimately a hollow one though, lacking that something that’ll keep us returning to it.