Release Date: Mar 5, 2013
Record label: Nuclear Blast
Genre(s): Pop/Rock, Heavy Metal, Death Metal, Scandinavian Metal
In mainstream rock, double albums are typically associated with contrivance and pretension, and are rarely employed as a vehicle for extreme metal. How appropriate, then, that Soilwork (a group known for straddling the line between both in recent years) should defy convention while remaining steadfast in their adherence to the formula that has endeared them to some and limited their appeal to others. The closest parallel to The Living Infinite is the tasteful balance of melody and shred that made A Predator's Portrait so memorable, although all eras of their later output are referenced.
Review Summary: The loss of Peter Wichers and an attempt at a double album? All the pieces were in place for a total meltdown. Instead Soilwork have come back with their strongest, most consistent album to date.Soilwork dodged a bullet. It had been years since they had released anything that people were really excited about, and things appeared to be getting worse.
When a band loses one of its longtime songwriters, it seems almost expected that the band would play it a little safe, testing out the waters before diving in. Not looking to take the path of least resistance, Soilwork, who once again find themselves without the services of guitarist and songwriter Peter Wichers, have done just the opposite. Rather than attempting to steady the ship with a quick album of throwaway tracks, the Swedish band has returned with The Living Infinite, a sprawling double album that finds Soilwork returning to a more distinctly Scandinavian sound in the wake of their more metalcore-influenced 2010 album, The Panic Broadcast.