With a release date set for June 6th, Volbeat 's highly anticipated new album , God of Angels Trust , promises to mark a new phase in the Danish band's trajectory. In a conversation with Wikimetal , drummer Jon Larsen shared details about the behind-the-scenes creative process, revealing the challenges faced in the studio, the influences that helped shape the new sound, and the expectation of returning to Brazil with the album's tour. The full interview offers a unique insight into Volbeat's rhythmic soul and what fans can expect from this new era. Check it out:
Wikimetal : I want to thank you, Jon, for taking the time for this interview. And, well, before we begin… how are you and where are you calling from?
Jon Larsen : I'm fine, thank you. I'm sitting in my "grown-up room" here at home.
WM : Ah, the best place to be?
JL : Yes, it is. That's where I keep some of my toys and trinkets.
Filming with energy and spontaneity: behind the scenes of the production of God of Angels Trust.
WM : Volbeat is about to release a new album called God of Angels Trust . And after Rob Caggiano left, you started working as a trio. You recorded this album in just five weeks, which is quite fast. What was the dynamic like between you, Kaspar, and Michael during this intense process? Was there room for improvisation on the drums? What was that experience like for you?
JL : Well, to be honest, it was pretty much like it always was, you know? There wasn't that much difference. This time it was just the three of us, but actually, on the previous album, Servant of the Mind , we also worked as a trio because it was during the pandemic. Rob was stuck in the United States and couldn't be with us, so we were exchanging files back and forth. So, in that sense, it wasn't that different now.
And actually, this album only took about two and a half weeks to record. But we spent a few months rehearsing intensely before going into the studio. So, when we got there, we already knew more or less what to do. Because studios are quite expensive these days. There's no point in sitting around doing nothing. We like to work, so we went in already knowing what needed to be done.
Sure, there are always small adjustments. Sometimes there's a part you've rehearsed and thought was incredible, then someone presses a button and says, "What the hell are you doing?". Then you end up changing a detail or two. But, in general, we know what we're doing. And when everything flows well, we just keep going and move on.
In what you hear on this album, a lot of the drums were recorded in a single take. In fact, I think almost all the songs were recorded in a single take. Of course, nowadays there's Pro Tools, all that technology, so if the overall take is good, but there are about eight bars that are a bit odd, you can cut and paste, adjust them there. But the idea was precisely to maintain that spontaneity, to bring a more live feel to the sound, so that it seemed like we were playing live in the studio, even though we weren't actually playing together.
We wanted something more raw, with a more lively vibe. So we told our producer this and he agreed right away. We said, “If there’s anything, like a snare drum beat that doesn’t sound exactly the same as the others, but still sounds good… leave it like that. No need to over-edit.” No robots. We just go there, play, and see what happens.
And there's something else interesting: our producer had already told us this years ago. He said that we perform better when we get everything right in the first two or three takes. After the third, he would say: "There's no point in continuing, because your energy has already dropped, you start to drift off and do something else." So that's the idea: try to get it right in three takes. If it works, great, we move on. If not, we'll do something else.
Jon Larsen talks about his simple and effective approach to drumming on Volbeat.
WM : Volbeat has started composing again after a year-long hiatus. How was this restart for you? Did you come back with more energy, new ideas, or even a different approach to your drumming?
JL : No, it wasn't a different approach. You know, it was never about that for me. What I do is this: when Michael comes with an idea, with a riff or anything, I listen to what he's playing and then I put something on top of it. Sometimes he already has an idea in his head and says, "Oh, do something like this," and tries to explain to me what he wants. Then I try to play that, and sometimes he says, "Yeah, that's good," or "No, that doesn't work." But most of the time, I just create something right there on the spot, and if it works, great.
But I always pay attention to what he's playing. It's always been that way. I've never been the type of drummer who needs to be flying around the kit all the time, doing flashy fills and all that. It's never been about that for me. There are guys who do that, and they do it incredibly well, but it's not my style. And honestly, I don't even know if that kind of thing would fit the sound we make. The idea is more to keep everything simple. But, at the same time, try to find that groove, that right feel.
Jon Larsen talks about the current sound of Volbeat.
WM : In your view, what does this new album represent in the band's history? What does it bring that's new to Volbeat's identity and to you as musicians?
JL : For me, it's simply a new album. You know, it sounds like us, so it must be us. Maybe, as I said before, it has a certain return to the things we did in the beginning. But, at the same time, it has a little bit of everything we've done over the years. There are the heavier songs, centered on riffs. There are the faster ones, with a kind of punk feel. And there's also, if I can say this… a kind of ballad. But we've done that before, you know? So, I think the album simply represents how we sound today.
The influences of Jon Larsen
WM: How do you maintain your creativity? Do you listen to music outside of rock and metal? Are there any unusual influences on your drumming style?
JL: I don't listen to new music. Not at all. Simply because there's nothing that really interests me. The only thing, and I don't even know if it's still new, that I kind of like is Crypta . I think those four girls are really good and are doing an incredible job. But, apart from that, I listen to all the old stuff I've listened to since I was a kid. From Kiss to the Beatles , Rush , Iron Maiden , Adam and the Ants , Sex Pistols , Ramones , all that stuff.
WM : So, no new bands, like from 2000 onwards or from the 2010s?
JL: Not really. To be honest, I really have no idea what's going on. And it's not because… Michael, sometimes, he and Fleming especially, are super into this whole death metal thing, both the new and the old scenes. They listen to it all the time. And I'm there thinking: "Yeah, it's kind of cool, but I don't need to buy [an album] because I'll probably only listen to it once." And that's it. Of course, if someone puts on some old Obituary or Death , then yes, that's great, I'll listen to it no problem. But this whole new scene? To be honest, I have no idea what's happening.
Jon Larsen's challenge in balancing technique and energy.
WM: On this album, was there any track where the drums were a challenge for you?
JL: I think the most challenging part of this album was maintaining the intensity and energy during the recording, you know? As I said before, there are some faster-paced songs, so I think maintaining that high level of energy was kind of difficult.
There was one song, I don't remember which one, where the drum pattern I had in mind was a little different. But in the last rehearsals before going into the studio, I realized I wouldn't be able to keep up. I had to change it, kind of "fake it" somehow.
My original idea was to play like Marky Ramone did with the Ramones, playing eighth notes on the hi-hat. I tested that and it worked well in the first verse. But in the chorus, where I was still playing eighth notes, I started to feel it was getting a bit difficult, so I had to "fake it" again. So, in the verses, I decided not to play eighth notes, I started playing quarter notes, and in the chorus I went back to eighth notes.
So, maintaining that level was the biggest challenge, really. And also playing with Kaspar and Michael, because Michael sometimes has these tricks on the guitar that make me think: "Oh, that's cool! I can add a snare drum touch here, or a cymbal crash there, just to spice things up and make the sound bigger."
The evolution of the Volbeat rhythm
WM: How do you see your evolution as a drummer from the beginning of the band to this album?
JL : I'm not really sure. I think that, over the years, our playing has become a little more "tight." You know, when we play live now, we focus more on the timing, try to keep the rhythm just right, so to speak. We don't play with a metronome live, but there are a few songs where we use a click track to keep the tempo, because, like any band, we generally play a little faster live. But when I listen to some old recordings, like from 10 years ago, of some songs, I think: "How the hell did we manage to play so fast?"
So, that's what we try to focus on most today: keeping the right tempo. Some people even complain, saying, "Oh, you're playing too slow now." But that's not it; it's that we're more focused on maintaining the correct tempo. On the last tour we did with Fleming , he had rehearsed a lot, but he rehearsed with the album tracks. In the first shows he played with us, on the song "Fallen," he started playing very fast. We were like, "Wow, that's too fast!" We told him, "Fleming, that's too fast." And he said, "No, I listened to the album." Then I listened to the album version and thought, "My God, it really is fast." So, actually, we play slower live than I thought.
The unique energy of the Brazilian audience.
WM : Last year, Volbeat played here in Brazil, and it was a special moment for many fans. Was there something about the energy of the Brazilian audience that caught your attention during that show?
JL : Yeah, the energy from the crowd was incredible, you know? And, well, I wouldn't say I was nervous, but at the same time, we were going to play to an audience made up basically of die-hard Iron Maiden fans. The day before the first show, I was in a smoking area outside the stadium, and I was watching people arriving. And, man, no matter where I looked, it was just Iron Maiden t-shirts. That's all I saw!
Normally, in the United States or Europe, you see a mix, a Metallica t-shirt here, a Slayer one there, one or two with Kreator, Iron Maiden, and so on. But that day, it was all Maiden, I couldn't believe it. And my immediate reaction was: "Oh no, we're screwed... we're in trouble. They're going to hate us!"
But, to be honest, the audience reaction was amazing. And I even saw a guy wearing a Volbeat t-shirt! I thought, "Okay, at least there's one guy who knows we're here." (laughs) But seriously, those were two incredible shows. And playing in a gigantic stadium in Brazil was something truly special.
The desire to return to South America.
WM: Volbeat has announced a tour of Europe and North America. Do you have plans to return to Brazil? Are there any plans for dates in South America?
JL: I hope so. Honestly. Right now, we only know what we're going to do this year. I'm sure plans are already being made for 2026, but so far we haven't heard anything about it. We have a tour schedule from June to November, going through Canada, the United States, and Europe. After that, we'll see what happens. But we would love to come back, actually, not just to Brazil, but to South America as a whole, and do our own shows. Because, until now, every time we've been in South America it's been at festivals or, like last year, the two shows with Iron Maiden. It would be great to come back and do something just our own in South America. Definitely.
WM: I want to thank you, Jon, for this interview and for taking the time to talk to us. We really appreciate it. And before we wrap up, would you like to leave a final message for your Brazilian fans?
JL: Ah, what can I say? The last time we were in Brazil, we had an incredible time, met fantastic people, and spent amazing time with incredible people. Thank you so much to everyone who was at the two shows we did with Iron Maiden. I hope you enjoy the new album and that we see each other soon.
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