«
»
Reviews

THOUGHTS ON SOILWORK’S THE PANIC BROADCAST

 Wednesday, July 7th, 2010 at 2:30pm by

soilwork - the panic broadcast

The Panic Broadcast, Soilwork’s new album marking the return of guitarist/producer Peter Wichers, dropped on July 2nd in Europe… meaning by now most of you have likely heard the whole thing regardless of the “North American release date” of July 13th. But whether you have or haven’t heard it, I figured I’d share my thoughts with ya’ll since that’s why you visit MetalSucks, isn’t it?

Soilwork embark on the MetalSucks-sponsored Panic Over North America tour with Death Angel, Augury, Mutiny Within and Swashbuckle starting on July 14th. Get dates here then get stoked, ’cause we sure are.

My thoughts on The Panic Broadcast after the jump.

  • “Late for the Kill, Early for the Slaughter” is a fantastic album opener possessing every element of Soilwork’s sound and harking back to Chainheart Machine. “Two Lives Worth of Reckoning” is a similarly fast and catchy number of vintage Soilwork.
  • Wichers makes his presence known from the get-go. It’s those bluesy riffs and solos, and those chord voicings he uses in the turnarounds… I’d recognize them as distinctly Wichers anywhere.
  • The guitar solos on this album are awesome, and there are guitar solos a-plenty. While it’d be be easy to credit Peter Wichers — and certainly some credit there is due — I think equal credit should be given to new rhythm guitarist Sylvain Coudret. There are often two solos (or more!) in one song, and the stylistic differences between the two players’ lead styles are readily apparent.
  • “Night Comes Clean” is easily one of my favorite songs on this record. It’s catchy, but in a less deliberate way than many songs on Sworn to a Great Divide (i.e. “Exile”).
  • “The Akuma Afterglow” is another of my favorites. It’s the perfect mid-tempo, melodic Soilwork album-closer ala “Soilworker’s Song of the Damned” and “Wherever Thorns May Grow,” only it’s not the album closer (it’s second-to-last).
  • Keyboards continue to play a dimished role in the band’s sonic palette, which is really too bad. They shine through occasionally for some added texture or a subtle lead line between a verse and chorus, but for the most part they continue to be buried as they have on the past 2 albums. I really wish they’d get back to the prominent role keyboards played on Figure Number Five and prior; it’s an important part of what made Soilwork Soilwork.
  • “Epitome” and “Let This River Flow” are the weakest links and seem a bit forced in the context of this album… but they’re still decent songs.

The final verdict: The Panic Broadcast is a decent album that I think I like more than Sworn to a Great Divide, but it doesn’t top anything from what I considered to be the band’s golden era, Natural Born Chaos through Stabbing the Drama. Still, it’s Soilwork, and it’s instantly recognizable as such; it’s also pretty damn good. These guys are too talented to put out anything less and they pretty much wrote the book on catchy-but-not-cheesy melodeth, so while The Panic Broadcast isn’t likely to gain the band many new fans it does deliver more or less what we, as the existing core of fans, wanted. If you like Soilwork, you’ll like this album.

Listen to a couple of songs from The Panic Broadcast on Soilwork’s MySpace page.

-VN


(three and a half out of five horns)

Tags: , , , , ,
  • http://www.facebook.com/people/Dan-Burton/784250631 Dan Burton

    Weird. I was literally just listening to it now. I haven’t listened to Soilwork since ‘Stabbing The Drama’, and I’m digging this one a lot. I agree that “Late for the Kill, Early for the Slaughter” is a great opener.

  • Fufkin

    While I agree with the point about the keyboards, I think this is a stronger and more varied album than Stabbing The Drama – an album I like a lot but which many would argue is not a ‘golden era’ album like NBC and PP.

    Really surprised you didn’t mention Enter Dog Of Pavlov. That is a stunning song, a little different to what I’d expect from them and possibly the standout moment.

    • Andy Synn

      I agree with both points, I think this is a stronger effort than StD (lol), not least because of the beefier production and guitar tone.

      Also that “Enter, Dog Of Pavlov” is a brilliant song, very NBC-esque and a great closer.

      I disagree with the review in that I didn’t find “The Akuma Afterglow” to be that great a song, and really DID enjoy “Let This River Flow” as it’s ballad-esque, but still staying metal and heavy, with a great vocal performance.

      I did however think that the use of cleans got a bit much int he 2nd half of the album. A screaming stormer would have been welcome.

  • Permafrost

    I know it’s been confirmed by the guys in the band that keyboardist Sven Karlsson actually pushed to have less keyboards at one point, especially on Stabbing The Drama. A great example of someone wanting to do what’s best for the song.

    No arguement that I’d like to hear more keys, but I’ve got to respect an artist when they choose to show restraint.

  • http://www.twistedcritic.wordpress.com Chris

    Aside from the two songs I heard off myspace, I’m holding out till I can pick it up next Tuesday. That really is too bad about the keys – perhaps it was a smart move for Stabbing the Drama (Figure Number Five was about as keyboard-heavy as this band should ever go), but after 2-3 albums of the keys just filling up the extra space, writing the occasional keyboard-driven tune wouldn’t hurt.

  • Driven9

    im a huge SW fan: 1. I really like this album 2. fuck keyboards

    • Strapping Young Lad

      Haha, yea, Soilwork does kick ass and Predators Portrait was their best IMO, but sometimes a little keys goes a long way…

  • http://www.myspace.com/palehorseofhell lord assenfroth

    i just heard this cd for the first time earlier this morning, and i have to agree with you on pretty much everything. spot on review

  • Brian

    “I really wish they’d get back to the prominent role keyboards played on Figure Number Five and prior; it’s an important part of what made Soilwork Soilwork.”

    I 100% agree. They were there on Drama, just not used as well as Soilwork used to. I like the songs I have heard, but they lose credit for having no keys. I guess I am just going to have to put that aside if I wanna enjoy the album.

  • Chaosbeard

    to write anything about new soilwork and not mention Dirk Verbeuren is near criminal. the guys plays drums with more feel, fluidity, and creativity than 99% of all others recording metal.
    the kit may not be blaringly up front in the mix but the guy throws in fleeting moments of genius at such frequency that you take him for granted as a listener.

    • http://www.myspace.com/palehorseofhell lord assenfroth

      yea, he’s one of the best in the world

    • mike

      Agreed. I will keep promoting this until Vince or Axl pay deserved attention (to this band): Dirk’s performance on Sybreed’s ‘Antares’ album was absolutely f’ing amazing. He was the icing on the cake in what I consider at times a very Soilwork inspired album, albeit industrialized sounding (Fear Factory) and better than anything Soilwork has released in a decade. A most underrated release.

      As for this album, it’s a quality release but seems at times to be trying to relive past glories (NBC). Still, I shall buy it and enjoy.

      • http://www.metalsucks.net Vince Neilstein

        I’ve praised his drumming skills before! Search the site.

        -VN

        • http://chaosbeard.blogspot.com Chaosbeard

          my comment wasnt so much a criticism of the review so much as to just bring attention to dirk. in fact my only issue with the review itself would be the claim that NBC through Stabbing is the golden era of the band. and im not going to bother disputing that but only state that if that’s the case, Steelbath through Predator’s must be the platinum era.
          i still dig the band’s schlocky nice scream sundaes but ive found the last few records, including this one to be merely vessels for Verbeuren’s crazy chops.

  • Octillus

    If there’s anything 1/10th of Follow the Hollow on this album, I might check it out.

  • ACoffinShip

    I’ve only really ever read people talking shit about Figure Number Five. I was always under the impression that the consensus was it was mainstreamed rubbish. I have also been under the impression that the consensus is a bullshit lie. Good to see some people giving it the love it deserves!

  • http://www.facebook.com/people/Phil-Hopkins/100000274440932 Phil Hopkins

    This album rules! I think every song on here is a winner. Soilwork are bearing the torch for catchy melodic metal.

  • Fred Durst

    First off FN5 is one of the most soilid albums of the last 10 years…

    And lets get something else striaght, Predators Portrait IS ONE OFTHE BEST METAL ALBUMS EVER RECORDED.

    I got high hopes for this one, def gonna catch this tour!

    • http://DrJ3ky11 DrJ3ky11

      yes, Predators portrait is the shit. their best in my opinion

  • Todd

    Solid album! less keybords is a good thing. Wish Children of Bodom would cut them out of their music.

  • Honeynutzz

    I was hesitant to listen to this album at first, I’ve never really enjoyed any other Soilwork albums that I have heard. But I was bored one night and figured wtf why not. Surprisingly I really enjoyed the album opener. Then track 2 hit and I knew something was off when I heard the riff after the melodic opening. I quickly realized what I was hearing.

    http://www.youtube.com/watch?v=eKe4NXa8YIU

    http://www.youtube.com/watch?v=PNtSNG7zRNs

    Moving on, I enjoyed the rest of the album and have listened to it a couple times since. I’m hoping it will warm me up to their sound so I can get into some of their older stuff.

  • djabthrash

    “The King of threshold” is a SICK song !!!

  • http://rockingcreative.com jakeinyourbox

    The golden era of Soilwork was Preidtor’s Portrai – Natural Born Chaos

  • basshole

    this album sucks ass.. modern poppy groove rock with one good song, the opener.. golden age Soilwork!?!?! SS through NBC, duh..

  • Alex

    I’ve been listening to this all day. Fucking love it.

  • http://www.lannie.net Lannie

    Because I’m a lucky European, I’ve already been listening to this album since 2 July, and wow- it blew my mind. Ever since I’ve got my grubby hands on The Panic Broadcast, it has been blaring through my speakers.

    So, what do I think of it? Ever since I’ve been playing Soilwork again (it’s been a while) everything else I listen to feels terribly slow and sluggish. I’m sure that it’ll return at some point, but at the moment I’m too busy marvelling at Dirk Verbeuren’s drumming, Bjorn Strid’s screaming, and oh, the wall of sounds that the guitars make.

    The general opinion on Soilwork on the internet seems to be that their older work is made of awesome, and after Natural Born Chaos it all went downhill – Sworn To A Great Divide is said to be the low point. I am not too proud to admit that Sworn To A Great Divide, in my book, is a great album. An album that carries songs like “As The Sleeper Awakes” and “The Pittsburgh Syndrome” is impossible not to be extremely appreciated. I loved the melodies and I didn’t mind that it was a bit slower at times. Soilwork does the slower work really well, too.

    Because you know what Soilwork is really good at? MELODY. They’re a melodic death metal band. (They’ve flirted with metalcore, and I’m fine with metalcore. More than fine, actually. I kind of totally dig it.) Their melodies are top notch, and I love to let myself get carried away on them. What they also do very well is the refrains and the singalongs – they’re very good to yell along on top of your lungs. Bjorn’s clean vocals are really pretty – and his choruses are going to play in your head all day. Add to this the best drumming I’ve heard EVER (I should have let Dirk sign my boobs as well, at that gig in November 2008. Not just Bjorn. Dammit!), and an energy that’s completely invigorating, and then you have my love for Soilwork.

    But, you may ask (or not, probably), what do I think of The Panic Broadcast? Well, dear reader who’s probably snoring with disinterest at this point, it is made of WIN. I love this album. It’s full of great tracks, and while at times it feels a bit like hitting a brick wall of music headfirst, once you dive through, the water’s great. Songs like “Late for the kill” make me grin like an idiot, “Two Lives Worth Of Reckoning” is brilliant, “King Of The Threshold” (maybe the best track on the album), “Enter Dog Of Pavlov”… shit, should I list every single track?

    I don’t think so. Bottomline is, Soilwork still rocks my world. I am so terribly glad they didn’t disappoint me after waiting all those years for a new release. I can’t WAIT to see them live again. And this time I will get the drummer to sign my boobs, I think. :D

  • http://wha kurt l

    Best album ever. Best band ever. End.

  • http://www.facebook.com/people/Tim-Jones/554310014 Tim Jones

    Personally I don’t think this album’s been given the credit it deserves here. Then again, I’m already a big Soilwork fan.

    I don’t usually say I have a favourite band per se – I tend to go through phases of listening to one or two bands obsessively for a week or so, then moving on to someone else. But these days, I think Soilwork might actually be my favourite band. Why? Because every time I’m starting to get a little bit bored of my metal collection, Soilwork bring out a new album just so show us all how it’s done. This album is no exception.

    I don’t want to make some overly negative post slagging off metalcore as I certainly don’t hate that genre but I really don’t think they can hold a candle to the melodeath bands that influenced them when they’re on form. I was in a Shadows Fall mood recently until I checked out the new Soilwork, and it made me realise that a lot of what Peter Wichers said in his recent interview with metalsucks is so so right, even if it might sound arrogant at first. Those harmonised riffs and solos are often just put in the middle of songs for the sake of it, with the result that you get a lot of very bland, samey music.

    Peter Wichers and Sylvain Coudret, by contrast, play some fantastic and solos on this album, managing to be catchy, melodic and technically impressive without descending into pointless fret wanking. The riffs are pretty heavy and hark back to Soilwork’s early days, and they’re also melodic without just being Gothenburg rip-offs. I do think Daniel Antonsson did a very decent job on the previous album, but it wasn’t really Soilwork. Wichers is very welcome back, and Coudret fits in well.

    But the guitars aren’t the only improvement here. Speed is really firing on all cylinders here – he screams his way through “Late for the Kill, Early for the Slaughter” with some pretty heavy firepower, all the while remaining comprehensible, and then nails the melodic chorus of “Two Lives’ Worth of Reckoning”. Dirk Verbeuren is also firing on all cylinders here and helps to bring back some of the older Soilwork sound. The keyboards aren’t quite as prominent as they have been on some of their previous albums but in my opinion the guitars make up for it.

    In my opinion this album shows two important things: first, as stated above, Soilwork are capable of taking the metalcore crowd to school when they feel like it. And second, they’ve aged far better than their contemporaries – In Flames lost interest in making awesome music around the time they released “Reroute to Remain” and Dark Tranquillity, while still decent, have basically just released 2325435 versions of “Damage Done” ever since that album came out. Soilwork are capable of mixing things up a bit without losing sight of what makes them great, and this album is competing with Natural Born Chaos for the title of “Best Soilwork Album” in my eyes. It’s a 5/5 from me for this album!

  • Kuranes

    I’ve been listening to this for a while so I thought I’d come back and read the MS review. I disagree that Epitome is a weak link. It’s the closest thing to what you might hear on a ClearChannel meathead rock station (the riff is relatively simple and the vocals are almost all clean) but I think it’s a great song anyway. The drums, solos and vocals are all excellent and it’s pretty damn catchy.

    This album is great from start to finish.