Review Summary: No abandonment here.
Soilwork has been on an affable run since their 2013 effort,
The Living Infinite, but long-time fans now have to acknowledge that the Soilwork that produced the likes of
A Predator’s Portrait and
Stabbing The Drama is somewhat detached from the modern day persona. It’s a thought that cuts both ways, especially given that some of the band’s more illustrious modern albums arguably stand well above the nostalgic memory banks of Soilwork’s once premiere back catalogue. While this Swedish metal powerhouse might be a few scant years away from three decades in the business,
Övergivenheten has again shifted on Soilwork’s formula, creating an identifiable evolution in style when compared especially to the two records before it. The maturation of sound is to be expected, especially with the point at the top of this review. In short, Soilwork aren’t the same band that would churn out stylistic self plagiarism. No,
Övergivenheten is the natural progression of a band well-versed in doing what they’ve done for twenty-six years.
With that in mind, Soilwork’s focus on melody isn’t a strange concept for die-hard fans, but here everything has been dialled up and inflected with clear folk leanings. Extra acoustic guitars and keyboards all flesh out the band’s more progressive arena rock tendencies and are not quite removed from the melodic death metal roots from which all Soilwork music stems. It’s where
Övergivenheten’s strengths come into play. In focusing less on a contrasting dichotomy, balancing the heavier riff-laden sections and screams with bombastic, soaring chorus lines, Soilwork’s new music emotionally lifts above the din. Harmonies don’t just bulk out the record; they complete it. Never before has Soilwork sounded so focused on clear harmonies and clean vocal progressions.
Bjorn “Speed” Strid’s vocal range is on show from the introductory, titular title track. A war cry punches out of “Övergivenheten” in a way few modern day melodic death metal bands could emulate, while the main riff harmony screams head-banging enjoyment from the get-go. The track’s chorus responds to Bjorn’s massive cry, bringing the theme full circle before “Nous Sommes La Guerre” lightens the mood for a
Stabbing The Drama inspired (and aptly named) “Electric Again”. On the other end of the scale, tracks like “Dreams Of Nowhere” which blast a combination of classic Soilwork aesthetic, endless melody and accessible sung chorus lines sneak into the psyche. These tracks might not be as memorable as
The Ride Majestic’s title track or “Death In General” but in 2022 they’re just as musically powerful and prevalent in the band’s wider scope. “Golgata” is a mosh monster utilising thrash-y grooves against Bjorn’s now standard use of rough shouts and glossy cleans. Even the jarred riffs that counterweight the guitar solo seemingly blend from furious rompers into fluffy pillows to which notes can bounce off. “Golgata” eventually circles back to the furor and range, earmarking the eventual closing sections to come.
What holds
Övergivenheten back, even if only marginally is the new album’s length. By easily surpassing the hour mark, Soilwork’s work ethic at times feels aimless in a sea of similarity. Not because
Övergivenheten sounds too similar to the numerous Soilwork references that come before it, but because there’s simply too much here. I’d even argue that a couple tracks here would make a tidy EP. Because of that some cuts will resonate more loudly with the fans firmly entrenched in the band’s earlier works while others will appreciate the more melodic free flow sound aesthetics born post-
Sworn To a Great Divide fifteen years ago. Most of this issue could be addressed simply by peeling away some of the belly fat. But from where? By themselves these tracks stand and deliver. “Vultures” rapid riff aesthetic swells into some gorgeous vocal melodies. “Death, I Hear You Calling” may have a slightly plodding introductory and verse section, but the track’s hook is quite possibly the year’s catchiest earworm—setting a hook, the line and sinker. Even the record’s deeper tracks all redeem individually. “Dreams Of Nowhere” soars more melodically than most of the songs before it and yet it’s somehow buried under the weight of the album’s overall run time. Perhaps if
Övergivenheten had been split into two halves the fatigue factor would be nullified. Even an instrumental like “Morgongåva / Stormfågel” doesn’t allow the listener a moment to recollect, breathe in or out and its guitar melodies simply push through one ear and out the other. I digress, because there’s a lot going on here.
It’s a shame that
Övergivenheten is a little over-cooked and over ambitious, because there’s quite a lot to take away from a veteran metal band mellowing gracefully into what’s probably the later stages of their career. Sure, we’ve established that Soilwork aren’t the same band churning out thrashing melodic death metal bangers in the early 2000s, nor are they producing the same type of metal that signalled their rise to fame later that same decade.
Övergivenheten is just another shift in the timeline for a band not willing to submit to autopilot without divorcing their melodic death metal roots.
