If you ever find yourself wondering why mainstream music produces so many professional and well-produced acts while metal seems pasted-together in comparison, worry no more: Soilwork has invented a new form of radio-friendly metal that competes with the big bands you can hear on the radio.
Much of metal’s heritage is pop. Iron Maiden, Queensryche and even easy-listening death metal like Cannibal Corpse follow the pop formula. What they are not is systematic in listening to their own material, analyzing it, following published research on effective songwriting and thus, consistent. A professional band approaches music like science. Every part of every song must be deliberate, which requires organization and to put it bluntly, work. This anti-hobbyist view threatens metalheads two ways. First, it points out that we could do better, with self-discipline; second, it points out that the world isn’t as simple as “all pop is crap” and “all underground is good.” Pop is musically competent and in many ways surpasses the underground bands.
The Living Infinite manipulates human emotions like a Hollywood mega-movie. All aspects of this work are thoroughly professional. Nothing is left to chance. Every iota is calculated to produce an effect that works together to make a greater whole. Production is also a masterpiece, creating a glassine space that resonates with guitar sound and avoids crowding of the distorted tracks. Every aspect that wants to be heard can be heard, and through the magic of ProTools or an analogue, identical parts are (literally) identical. In itself, the production makes you want to relish this release because it gives it big-radio pop gloss without truly emulsifying the product into uniformity.
The style of the music is designed based on what has become highly popular for metal over the past two decades. If you can imagine Iron Maiden, The Haunted, Rammstein and Amon Amarth in a blender, you can see where Soilwork get their influences. It mixes the sweet dual lead guitar work of NWOBHM with the bouncing riffs and “carnival music” detours of metalcore. You will hear a Blind Guardian influence in the surging choruses and sparkly bright major key vocal melodies, and you could detect later Queensryche’s hybrid of indie rock, glam metal and power metal in its use of vocal hooks and interwoven rhythm lines. There are no ballads, per se; the ballad effect has been swept up in the metal effect, which is itself subsumed in the rock effect.
Soilwork target the audience for guitar-heavy bands like Dire Straights or Rush with the appeal of melodic metal and the positivity of power metal (which has a lot in common with modern Christian rock in this respect). While The Living Infinite may not satisfy the underground or true metal palate, its goal is not to appeal to that audience, but the people out there listening to mainstream rock who are looking for something that goes a bit further without going to a truly dark place. For that purpose, this heavily guitar-oriented band serves as an introduction and baptism into what could eventually become a dangerous metal habit.