*Servant of the Mind* is an intriguing hot mess. On one hand, it’s Volbeat’s heaviest outing to date — on the other, it’s weighed down by some baffling production and structural choices.
“Wait a Minute My Girl” sees the band dive headfirst into their rockabilly roots, complete with pounding piano and a blaring saxophone section, while “Temple of Ekur” and “The Sacred Stones” channel something far more exotic. Both tracks showcase guitar leads laced with an Egyptian flair, built around intervals typical of the Phrygian dominant and harmonic minor scales — a welcome touch of mystique that hints at untapped potential.
Elsewhere, experimentation falters. “Step Into Light” and “The Passenger” expose one of the record’s weakest links: the transitions. In the past, Volbeat handled their dynamic shifts with finesse, but here they often feel clumsy and disconnected. Too many songs sound like two separate ideas awkwardly stitched together, sapping the momentum and making the flow feel artificial.
Frontman Michael Poulsen remains as polarizing as ever. His Elvis-inspired croon has always been a defining trait, but *Servant of the Mind* puts it under a harsher spotlight. The ultra-clean production and repetitive vocal patterns strip away much of his usual charm, and the hooks — once Volbeat’s bread and butter — are in frustratingly short supply. Only “The Devil Rages On” captures the grit and swagger that once defined him.
And yet, Poulsen isn’t the biggest misstep. That title belongs to the guest vocal mix on Stine Bramsen’s appearance, which is so loud and over-layered it derails the entire track. What could’ve been a pleasant detour becomes an instant skip — thankfully corrected on the deluxe edition, where her vocals are removed entirely.
Ultimately, *Servant of the Mind* feels like a collection of compelling parts that never quite form a cohesive whole. The heavier riffs, exotic leads, and flashes of brilliance are there, but they’re buried under over-polished production, repetitive phrasing, bloated chugging sections, and abrupt transitions. It’s an album full of ideas — just not enough direction.
Still, credit where it’s due: the solo on “The Sacred Stones” is absolutely worth your time.
