Over the course of their 17 years of existence and now 9 album releases, Soilwork have become a worldwide phenomenon. The band has branched out beyond Europe and toured Asia, Russia and USA, supporting Lamb of God and Killswitch Engage along the way. Accolades have been received from Rob Halford and others. Yet while their sound has become cleaner, bigger and more melodic since the very early albums, the basic Soilwork product has remained the same. Always fresh, Soilwork have that natural Scandinavian sound, mixing aggression with harmonies, compelling riffs and spine-chilling moments. Each album from “Predator’s Portrait” (2001) still one of my favourites, has been a large scale melodic metal adventure. I was slightly disappointed with “The Panic Broadcast” (2010), which for me lacked the killer touches of its predecessors. Now Soilwork suggest they have plenty to say by returning with “The Living Infinite”, which immediately distinguishes itself by being a 90 minute, 20 track double album. There’s even the novelty of input from the lead singer of New Model Army on one of the tracks.
The first thing to say about “The Living Infinite” is that it’s recognisably Soilwork. There’s the full-on mix of hard ball aggression, melody and nerve-jangling harmonies. But as you would hope, there are subtleties of sound which the band has developed and put to good use. The guitar solo of “Rise Above the Sentiment” is more than just a filler. While “Drowning with Silence” has the hooky riffs and is bombastic and commercial in a way that recalls “Natural Born Chaos” (2002), the break is managed with care. There are significant changes too in the style. “Antidotes in Passing” is an upbeat pop song with feeling. Soilwork know how to work on the nerve ends with their rising instrumentals. But don’t worry – vocalist Björn “Speed” Strid is on fire and epitomises the ballsy passion and showmanship that Soilwork represent. I have in the past been critical of Strid for his theatrical and artificial incitement on stage to a nasty form of violent aggression – the songs are more subtle than that so I’ve never seen the point – but I can’t deny he’s always on our wavelength. He’s one of us. He extends his range here. At times the Soilwork formula – strong, hard-hitting fast death metal fare with harmonies – is there, as we find on “Parasite Blues”. Even there the melodies are unusual. Advantage is taken of the guest appearance on “The Windswept Mercy”. Flowing as ever and with all the usual melodic hooks, Justin Sullivan’s vocals provide a different angle from Strid’s growls and plaintive harmonies. But above all, the impact of this style of metal is achieved through a combination of timing and intensity. Soilwork achieve it on this album.
With each track, I found heights and subtleties enhancing the core Soilwork sound. But some of the structures ensure there are killer moments on this album. The “The Living Infinite I” is designed to make us hold our breath. It is slick but exciting. I’m bouncing. The keyboard flows through the background “like a river” to borrow words from the song. Powerfully, Strid balances the melody with the aggressive needs. This is perfect melo-death: having superb delivery, timing, controlled riffs, power and harmonies, it’s hopelessly catchy too. “The Living Infinite I” is a top track. It is the “Departure Plan” of this album, or “Exile” or “Nerve” if you prefer. We move and groove to this mini juggernaut. It is totally epic. Sensational, as Alan Hansen would say. “The Living Infinite Part II”, which appears 11 songs later, has the classic Soilwork level of drama. This great track comes together with its hooky riff and compelling force. Strid rages at us like a hurricane, yet the chorus is typically harmonic. This album gets stronger and stronger, but starts on the right note. The opening track “Spectrum of Eternity” immediately puts us in the mood. I can see this one being the opener at concerts. Designed to get the adrenaline flowing, it’s a taste of everything we’re going to get. I can visualise the bassist racing across the stage as he is prone to do, unable to contain his excitement. It’s equally important to finish strongly and Soilwork do this with “Owls Predict Stand Guard”. Slower and more deliberate than usual, it shows a dark side which peers through on this album more than others. The backdrop is that of heavy death. The band have a bit of fun with the sound effects. The lyrical reference to “free choices” contrasts with the music on this shadowy and suggestively punishing track to make us think. There are many highlights in between, but if I were to nominate one track to rival “The Living Infinite I” for impact, it is “Vesta”. I don’t know what it’s about but this is 4 minutes of colourful structure, which starts which a faintly Eastern element, and lung-burstingly dark and personalised hatred. “How could anyone bear to be around you?” is the chorus. I knew where Strid was coming from. As it came again, I joined in. Sheer quality.
Of course, we were never going to have 90 minutes of originality, not that I personally wanted it that way. From the rip-roaring “Spectrum of Eternity”, Soilwork keep up the required level of intensity. Some tracks connect with me more than others but each follows its own path, and there’s a greater breadth and depth. The mix is rich with sophisticated drumming patterns on tracks like “Leech”, there’s thrashing rage swirling around and yet there’s darkness and even pathos on tracks like “Memories Confined”. Strid widens his range here and proves he can implore like no other while accompanied by a colourful bank of noise. The introduction of the two members of Scarve in the last few years may have contributed to this broadening of scope. I don’t know for sure but as I listened to “This Momentary Bliss”, I heard a commercial song with a catchy chorus, but with masses of intensity and completeness of sound. At no stage during my repeated listening have I been tempted to skip any tracks, as each one has its own colour and character. Soilwork have got up at least three notches with “The Living Infinite”. It is a large breath of fresh air.
(9/10 Andrew Doherty)
Leave a Reply