Soilwork's 'Övergivenheten' - Album Review

If there is one band out there that is keeping the melodic death metal genre sounding fresh and full of life, the Swedish six-piece Soilwork are likely it. Some of the genre's big hitters have been sounding somewhat stale of late, but Soilwork have possibly been in the form of their lives recently. In truth, the band's lengthy catalogue is pretty strong from start to finish - but since the arrival of guitarist David Andersson in 2012 they have really been firing on all cylinders. Considering that Andersson replaced Peter Wichers, who was extremely important to Soilwork's sound and songwriting up until his departure, it is a surprise that he managed to become as integral to the band as he did. Not every band can replace someone as key to their sound as Wichers was and arguably go on to bigger and better things - but 2013's double album The Living Infinite showcased that life beyond Wichers was rosy, with Andersson immediately striking up a great writing partnership with frontman Björn 'Speed' Strid. The Living Infinite is one of the greatest double albums in metal in my opinion, and this is largely thanks to its consistency and strong focus on melodies. As Strid and Andersson would go on to prove with their many albums with The Night Flight Orchestra, they are musicians that love a killer hook - and Soilwork of late has been all about the hooks. The Ride Majestic (which I reviewed here) followed in 2015, and four years later came Verkligheten (which I also reviewed here) - both of which continued the melodic nature of The Living Infinite, whilst also perhaps indulging the band's occasional progressive side. This progressive side was then fully explored on the 2020 EP A Whisp of the Atlantic - which I did not pick up for a while as originally it was only released on vinyl. A CD release eventually happened, but by this point it was far too late to review it - although it is safe to say that, despite only being an EP, A Whisp of the Atlantic was another solid entry into the band's modern canon. With that coming out, as well as Strid and Andersson's focus on The Night Flight Orchestra of late, I was not expecting a new Soilwork album to be released this year - so I was surprised when the band's twelfth album Övergivenheten was announced a few months ago. I pre-ordered it, and have been enjoying it since it was released back in August. However, the album has since been tinged with extreme sadness - as the band announced in September that Andersson had died, aged 47. From reading some of the band's statements, I do not think that Andersson's death came as too much of a surprise for them - due to his mental illness and alcohol addiction - but that makes it no less sad. Övergivenheten, then, currently acts as Andersson's last recorded work - so it is fitting that he drove much of the songwriting here, along with Strid. The album sounds like a natural continuation from Verkligheten, with lots of hooks alongside a somewhat more progressive approach. Andersson's approach to songwriting is very much obvious here - so the album acts as a fitting tribute to his talents. It is also the band's first album with bassist Rasmus Ehrnborn, who was made an official member of Soilwork earlier this year after having toured with them since 2019.

Övergivenheten is quite lengthy, with 14 songs totalling over 65 minutes, but generally the quality is high throughout. It opens with its title track, which builds from an atmospheric intro based around clean guitar melodies, the subtle keyboards of Sven Karlsson, and, eventually, the marching drums of Bastian Thusgaard. Soon, though, the song really opens up - alongside a Strid scream - and a hooky riff kicks in that sees a synth lead sitting atop a heavy guitar pattern. In many ways, Övergivenheten is very typical of the modern Soilwork sound. Strid moves back and forth between harsh and clean vocals, and there is a heaviness throughout thanks to Thusgaard's busy drumming and the duelling guitars and Andersson and Sylvain Coudret. The verses are the heaviest sections here, with fast-paced riffing and Strid's screams - whilst the chorus is much more melodic, with more of a keyboard presence and some soaring vocal hooks. The chorus is one of the many catchy moments found throughout the album, and it sticks in the brain thanks to Strid's typical approach to melody. An off-kilter Andersson guitar solo adds a progressive edge to the song - whilst Karlsson also contributes in this regard with a low key piano outro. Nous Sommes La Guerre follows, and the pace is slowed somewhat - with the song opening as a mid-paced rocker with some driving guitar stabs and a strong keyboard presence. The heaviness soon drops away, though, leaving some clean guitar melodies and a rhythmic, jazz-inspired drum groove which form the basis of the song's verse - which Strid soon sings over. He largely focuses on his clean delivery here, his rich tones adding to the overall tapestry that is created by the jazzy feel of the piece. By this point, too, Karlsson's keyboards have also joined the fray - and they add a significant amount to the song's overall melodic nature. Karlsson has always been an asset to Soilwork, but his keyboard playing seems more prominent throughout this album in general - and this song is a good example of his talents. Keyboard hooks fill the chorus, complimenting Strid's vocals nicely, and the track is enhanced as a result. Electric Again ups the heaviness again, and opens with some furious riffing and some blast beats from Thusgaard. Soilwork are definitely more melodic and less heavy overall than they used to be, but they still know how to pack a punch - as the opening of this song shows. Despite this, though, the song is still packed full of hooks. The verses are abrasive, with Strid's harsh vocals and the relentless drive of the drums, whilst the choruses soar thanks to a slower pace and a heroic vocal display. There are fewer melodic touches musically here, with the vocals doing all of the heavy lifting - although a violin solo courtesy of session player Rachel Hall does change the dynamic somewhat, before Andersson launches into a shredding solo.

Valleys of Gloam returns to a more melodic sound, with an opening musical hook that is easy to latch onto and a melodic focus throughout. There is little of the previous song's heaviness here, with Strid singing clean throughout and a reprise of the opening melodic hook is never too far away. Ehrnborn's bass is more prominent here, too, especially during the verses - and they add a subtle melodic edge. This is generally a very vocal-focused piece, though, and the chorus is another winner thanks to this approach and Strid's excellent delivery. Is It in Your Darkness returns to a heavier sound, and the opening riffing from Andersson and Coudret is excellent. There is a busyness to their playing, but it still manages to sound hooky - whilst Thusgaard lays into his drum kit to create a perfect backing barrage. Despite this, though, there are still plenty of melodies to be found here. Strid's harsh vocals have always been pretty accessible, and the verses are snappy thanks to his delivery - whilst a more epic pre-chorus section goes for an atmospheric approach with keyboards clashing with blast beats for a dynamic sound. The chorus is a real shout-along moment, too, with both clean and harsh vocals sitting side by side to create a powerful, anthemic sound. Strid is also credited with playing the song's guitar solo, which is a surprise. He has been credited with 'additional guitars' on some albums previously, but I believe that this is his first guitar solo. The cinematic, melodic moment is a brief moment of calm, and he goes for a different approach than Andersson might have taken - which works well in my opinion. Vultures goes for a more mid-paced and groove-based approach, and was put together musically by Karlsson. Karlsson used to write quite a few songs for the band, but he has not done so for a while - so it is nice to see him contributing again from a songwriting perspective here. The song not really that keyboard-heavy, though, and instead is more of a groove-based track with muscular mid-paced riffs and some punchy drum beats. Strid mixes clean and harsh vocals throughout the stomping verses, before the chorus again soars thanks to more of a keyboard presence and some emotional vocals. Andersson's guitar solo is suitably melodic given the nature of the track, too.

Following the short, piano-based instrumental piece Morgongåva/Stormfågel, one of the album's strongest cuts Death, I Hear You Calling rolls in with its strident opening riff. It is another mid-paced rocker, but it is easily one of the hookiest pieces here. The riffing from Andersson and Coudret throughout is packed with power, and Strid channels all the great rock and metal frontmen of the past for an anthemic performance. There is little of the band's technical side here, and the track is very much one for the headbangers. The verses throughout have a stomping groove, thanks to Thusgaard's simple drumming, whilst the chorus is an album highlight thanks to its huge hooks and Strid's swagger. It is definitely a track made for being played live, and even a slower-paced solo section does not kill the mood - with Andersson initially going for a more atmospheric approach before rocking things up again. This Godless Universe then opens slowly, with some piano melodies, but this is very misleading as the track itself is one of the heaviest here. Thusgaard lays down some more blast beats when the song proper kicks in, and the riffing is furious. Hall adds some more violin to the piece, though, and there is a bit of a symphonic black metal feel to the opening sections thanks to the combination of her playing and the relentlessness of the riffing. As such, the song has quite a strange vibe throughout - but it works quite well and allows the band to showcase their more progressive side. Strid's verse vocals are some of his most unhinged ever, which is fitting, whilst the chorus sees him reverting to his clean voice to hit some impressive high notes over the fury of the rest of the band. Dreams of Nowhere continues on in a heavier vein, but returns more to the band's usual brand of metal. It is much more melodic than the previous track, but there is still a lot of weight to be found. The riffing is pretty furious again early on, and the verses are a great mix of light and shade with Strid's dynamic vocal approach. There is a strong atmospheric approach throughout, though, with Karlsson's keyboards once again playing a big part in the song's overall sound. He adds a depth throughout, which ensures an additional melodic edge despite some of the heavy riffing, whilst the chorus is another potential candidate for the album's best. Strid really knows how to cook up a memorable vocal melody, and the chorus here sticks in the brain after only a handful of listens. It is very easy to sing along to, and the melodies cut through the heaviness of the rest of the song nicely - allowing to shine.

Another brief instrumental piece, The Everlasting Flame, follows that features more piano and strings, before Golgata kicks in with its snappy riff. Despite the riff being pretty catchy, it has an off-kilter vibe which whips up a great groove from the off - as well as indulging the band's more progressive side thanks to an unusual time signature. The verses are surprisingly fast, then, and Strid's vocals are furious - his harsh vocals spitting through the mix as the fast drums and the gnarly guitar riffing create a dense bed for him. The chorus sees the pace slowing and a more epic sound produced. The keyboards are once again pushed to the fore here, and the hooks from Strid have that slight pop edge that he is known for. The verses and the chorus contrast nicely with each other here, and this gives the song its identity. Harvest Spine is similar, but somewhat more conventional in sound with a groove-based approach and a big focus on rhythm. The riffing is more mid-paced throughout, which gives the verses an anthemic and stomping feel, although there are pacier moments such as some of the instrumental interludes and the chorus. Strid's harsh vocals during the verses are full of venom, which perfectly suits the chunky riffing, whereas the choruses are more melodic despite the faster pace. A rare Coudret guitar solo continues the pace with some melodic shredding, which adds to the song's heaviness nicely before a final reprise of the chorus. The album then comes to a close with the strangely-titled On the Wings of a Goddess Through Flaming Sheets of Rain which opens in a more atmospheric manner before it explodes into a fury of riffing and guitar leads. It is quite a chaotic song, but there are still plenty of hooks throughout. Some additional vocals are provided by Nils Karlén, boosting the speedy and dense chorus nicely, whilst Strid himself showcases his diversity with soaring clean hooks and deep growls - with the latter in particularly shining during a slower, heavier section following the second chorus. A couple of Andersson guitar solos add some melody, whilst Karlsson's ringing piano elsewhere adds depth. The song is very varied, and moves through different moods and musical sections - but it still sounds very much like modern Soilwork, with the band's progressive side getting a good workout as the album comes to a close. Overall, then, Övergivenheten is another strong album from Soilwork that continues the great work that they have been doing of late. Crucially, too, it has belatedly become a fitting tribute for Andersson and his contributions to the band - and he will certainly be missed going forward. He has become such a big part of the band's identity of late that it is hard to imagine a Soilwork without his songwriting now, but I am sure that Strid will continue forging on - and I hope that they can continue to do Andersson proud by pushing on with more quality releases going forward.

The album was released on 19th August 2022 via Nuclear Blast Records. Below is the band's promotional video for Övergivenheten.