It sort of reminds me a little bit of the progressive elements that we had on Sworn to a Great Divide. I really tried to poke Sylvain to write some songs for this album as well, but he didn’t. It’s the only track written by anybody else in the band except me and David. Somebody mentioned that it sounds like Mike Oldfield with blast beats, which is quite interesting.” I really like the contrast between the thrashy elements and the melody. It’s one of those melodies where we’re really connected emotionally, and that’s something that I’ve noticed in the latest years: I’ve become better at expressing my emotions through melodies. And then it leads into this really epic and super-melodic part. It sounds a bit like old-school Soilwork, with a Chainheart Machine vibe almost. I sort of reconnect to childhood through the song somehow.” When I listen to it, I have these abstract memories from when I was a kid flashing by. So, there’s something nostalgic about it. I just found myself wanting to return a little bit to that, but I didn’t want to rehash anything. I kind of surprised myself writing a song like that because it reminds me of the mid-2000s, when Soilwork had more poppy elements. “Gloam means twilight-it’s an Old English word. That’s some really high vocals on that one, but it’s a really cool song.” The chorus is going to be a tough one to sing live. And, overall, the song has elements of black-metal and classic heavy metal. They didn’t really use blast beats that much, but at least the guitar has that sort of vibe to it. It starts almost sounding like a classic early-’90s Stockholm death-metal vibe, like Entombed or Dismember with blast beats. It’s got a big chorus and a really cool drum break in the middle. It sounds a bit like The Night Flight Orchestra, but everything else has a different vibe. The melody here is bigger than life itself. I think most of his lyrics are dealing with that. This song was written before that, and I believe David is more talking about his inner war that’s been going on. I just want to clarify-it has nothing to do with the ongoing war in Ukraine. “The title is French, and it means ‘we are the war’. It has almost like a Scandinavian spaghetti western vibe to it.” And then, we also had a guy playing that banjo for the intro. We literally went to church to record those choirs in the beginning, which David arranged. I knew we had something special with the main melody-it’s just something that really sticks with you. “It starts with a banjo, and this was actually the last song written.
I felt I had to bring the empowering stuff, the uplifting stuff, whereas David dug deep for the darker songs.” Below, Strid comments on each track.
So, it’s really hard for us to find a mutual vision, musically, when we’ve been on, like, practically different planets mentally. David, on the other hand, has had some really dark years mentally. “In these latest years, I’m in a very good place,” he says. But I wouldn’t say that it’s a conceptual album around abandonment or anything like that.”Īs for the heaven-and-hell aspect, Strid points out that he and Soilwork’s other main songwriter, guitarist David Andersson, are in very different places in their lives. “So, abandonment can also be something positive in the end. “Personally, I had to abandon a few things in order to get to where I am today,” he explains. Which sounds depressing, but Strid says that’s only half the story. Translated from their native tongue, Övergivenheten means “abandonment”.
“It’s a little bit of a heaven-and-hell situation,” Soilwork vocalist Björn “Speed” Strid tells Apple Music about the Swedish metal band’s 12th album.
0 kommentar(er)
