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I’ve never been a huge fan of Soilwork’s early stuff. Don’t get me wrong. Their brand of melodic death metal (and probably all melodic death metal, but that’s another story for another time) was always kind of like a fast food burger. It was easy enough to enjoy and very easy to get a hold of, but ultimately, it was just never as satisfying as some other options out there.
In 2005 with “Stabbing the Drama”, however, Soilwork reinvented and re-energized themselves (at least with me) and transformed themselves into a band that could proudly boast their melodic death metal roots as well as possess an element of catchiness that seemed to make the band appeal to almost anyone with a taste for heavy music. Despite a slew of less than stellar reviews and opinions from all over the internets, STD (tee hee), while not an album I’d consider to be start-to-finish badass or anything, was an album that definitely featured a few tracks that felt like utterly sublime hits from the get-go and still maintain some sense of longevity today.
The main reason for this album’s appeal is probably centered around Speed’s vocals. Say what you will, but the guy can fucken do what he does extremely well. Whether it’s growling metalcore-esque grunts, screaming melodic death screeches, or belting out clean choruses, he just sounds absolutely fantastic and just begs for you to sing along with him at every opportunity. Whether it’s the title track, “Weapon of Vanity”, or “The Crestfallen”, or whatever, every track features some vocal hook that’s just impossible to ignore, and it makes those tracks feel like metal’s answer to pop radio hits.
Another area where this album truly excels is in the groove department, and that’s all Dirk Verbeuren’s fault. This whole album is essentially a clinic in melodic death metal drumming from start to finish. Dirk can play with speed or even in a slower, more plodding fashion while never faltering in terms of precision or groove. When tracks need that infectious groove, Dirk does it. When a moment in a song needs a tasty fill, Dirk does it. In all honesty, it’s no wonder why the guy has become one of the most sought-after marquee modern metal drummers out there. He’s clearly worked hard at his craft, and he is without a doubt that fucken good.
As for the rest of everything (including the shitty cover), it’s pretty average at best. It’s funny because as groovy and memorable as the tracks are to me, I can’t really remember any particularly memorable guitar riffs. The guitars are really just there to fill out the sound beneath the killer vocals and the drumming. Every time I hear the guitars, I think to myself, “Yep, they’re melodic death metal guitars” and move on. They sound pretty thick and heavy and do plenty of harmonizing, but there is not much substance to what they’re doing. As shocking as it sounds for such a guitar-driven genre of music, I guess you could say this album is far better than the sum of its parts.
The bottom line is that if you missed this one back in ’05, check it out.
Written for globaldomination.se
This release is possibly amongst the 3 best melodeath releases of all time; In Flames' "Clayman" and Dark Tranquillity's "Fiction" making up the rest. Bjorn's sheer class is evident right through from the beginning of "Stabbing the Drama" (single) all the way to the end of "Where Ever Thorns May Grow", time and time again the ingenuity of Bjorn's unwavering vocals find a new way to distract you, then slap you to ensure you don't know what's coming.
Ola and Peter have absolutely come into their own recording this record, fantastic rhythms throughout with perhaps a few out of place solos flicked in to provide even the most die hard Soilwork fan with something to listen to. In relation to their other albums, this one is THAT much better - even more so than "Natural Born Chaos" and "A Predator's Portrait", lyrically more complex than both of those previous releases.
The best single off this album is difficult to decide, each song being different to one another, but being ultimately catchy in itself in a different way. "Stabbing the Drama" is their best album to date, both lyrically and musically - with a great vocal presence from Bjorn throughout.
Even if you're not a fan of Soilwork, this is a must have for any metal fan; offering a wide variety to a lot of people. Crushing rhythms on "Where Ever Thorns May Grow", catchy choruses on "Stabbing the Drama" and "Distance", with sheer epic vocal presence from Bjorn on "If Possible". Overall, this is their best record, and 1 of 3 releases worth buying from Gothenburg's latest, and one of the greatest. Buy this record, it's worth it!
Soilwork has been an incredible band from the beginning. I got into them through this album and is my favorite (which will probably change with the new The Panic Broadcast).
This album has almost no flaws, it is incredible from beginning to end. You have everything from the crushing "Blind Eye Halo" with no clean vocals as well as the slow and epic "If Possible" being the only song with acoustic guitars. The guitars are crushing and groovy, drums are in your face and noticeable, and the keyboards create an epic or atmospheric background depending on the song. Bjorns vocals are amazing and more diverse than I believe most vocalists can pull off. You have screaming, a little growling here and there, something I think you could describe as a half-way point between screaming and singing, and the segment in "The Crestfallen" where he just talks in a harmonious way. The only reason I would not give this album a 100% is because I feel the melody could have been a little better.
You begin with the title track, which just makes you feel like you're ready to take on a sworn enemy. You have the blast-beat and thrashing "Blind Eye Halo". You have the fast-paced but still melodic and strong "One With The Flies", "The Crestfallen", and "Stalemate". You have the epic and passionate "Weapons Of Vanity", "Nerve", and "If Possible". And finally you have the mid-temp songs all in a row "Distance", "Observation Slave" and the also epic "Fate In Motion".
It's an over-all powerful, passionate album and a definite must-listen for Soilwork fans.
Sometimes I wonder if Soilwork actually realise just how low they've been falling since the release of Natural Born Chaos back in 2002. They've dumbed down their performance and taken influences from American mallcore, and the saddest thing of all is that they actually believe they're still a metal band. Sweden's elite metal force. This band is a fucking joke.
Stabbing the Drama is everything metal shouldn't be. Simple, mediocre songs based on soft-loud dynamics reminiscent of Nirvana, ridiculously studio-enhanced clean vocal parts and stupid-ass nu metal riffage are some of the pathetic characteristics that define this diarrhea mess. The drums sound so artificial, and Speed's vocals are just plain terrible. He no longer delivers high-pitched shrieks like he used to do in TCM and APP; he simply sounds like an American hardcore screamer. Everything about this album is absolutely lame.
The main problem is that the guitar is so poor. No memorable riffs, no creative solos, the guitars only serve as a support for the vocals, when it should be the other way around. That is something I have no tolerance for - the guitar work should be the main focus of any metal album, period. The only reason I'm not giving this album a 0% is that Blind Eye Halo has some decent drumming at the beginning, but that's it. Everything else is pure ass.
So there you have it; one of the worst albums ever recorded. It's basically pop music disguised as American alt metal. The worst thing of all is that the majority of Soilwork's fanbase actually prefers their newer records, which is way beyond me.
Stay away from this horrible piece of shit. If you ever see a copy, smash it with the hammer, until every fragment is so small that's invisible.
.. you have to shot the fuck as well. The fuck in this case is the boring mess that was Figure Number Five, an astonishing collection of one song repeated a dozen times and no interesting moment whatsoever.
See, a Gothenburg band needs something special. In Flames has more hooks than.. something with a lot of hooks, Dark Tranquility tries to be prog, Scar Symmetry had the wonderful growl of Christian Ãlvestam, At The Gates had its nasty shrieker, Arch Enemy the shredding of the Amotts.. but what exactly does Soilwork have? I haven't found out yet. While the musicianship is competent all-round, and it is by no means bad its bland, unmemorable and insanely trying to be background music.
The much hated Reroute To Remain hat more than half a dozen songs that stuck in your head, Stabbing The Drama has none. While the feeling of "isn't this still the same song?" is gone a constant nagging hint of "haven't I heard this somewhere before?" stays.
The guitars sound modern and artificially thick, which will have traditionalists puking blood and everyone else shrug, because it isn't obnoxious. They play.. well, Gothenburg riffs. With melodies on top. Because its a Gothenburg band. t just fails to be really memorable and feels overused. Apparently Soilwork felt the same because a good part of the guitar work is.. brace yourself.. metalcore chugging. So its a blend of slightly better riffs than on Figure Number Five and metalcore chugging - Come Clarity by their buddies In Flames comes to mind - with solos. Yes, unlike In Flames there are quite a lot of solos present. I just can't remember any of them, so they might as well not be there.
I could go on describing bass, drums and vocals, but really it is just the same as before. Nothing has really changed, the drummer is still ok, the bass uninteresting and Speed makes the best of his vocal abilities. If you know Soilwork, you'll know how it sounds. And I don't think anyone else but fans should listen to this. There's better Melodeath out there, both in the harsh and radio-friendly direction. Go and find them, and let Stabbing The Drama on the shelf.
Listening experience is like drinking stale tab water. It sloshes the thirst but.. you know. Go and get a drink you like instead.
It's a depressing thing to watch a band you admire more than your fair share go down in flames. And while I'm not against bands changing their sound, there's a difference between "musical evolution" and "musical apathy", wherein the sound degenerates to a hollow shell of a band's former brilliance, either catering to generally two-dimensional masses or just shrugging and releasing such an album without even caring. I'm not sure what compelled SOILWORK to devolve so horridly, but I can honestly say I don't like it. This new metalcore kick of theirs is leaving a sour taste in my mouth, and it all started here...
Almost all notions or the clear production, visceral heaviness, twin guitar rollercoaster rides and percussive chaos are tossed aside like so much shedded snake skin, leaving only the skin and bones of what SOILWORK are all about. Honestly, this is a more bitter pill to swallow than "Figure Number Five", the first step on their slow descent into monotony. Creative Swedish death metal riffing, flowing guitar dynamics and nihilistic screams are replaced with simple harmonic leads, chugga-chugga stop-start guitar work, non-existent bass and hardcore shouts belting prototypical hard/metalcore internal struggle/societal issues tripe that mean nothing in the real world (doing something to fix things is one thing, bitching about things only makes it worse). The production also isn't as clear as it could be and comes off as blurry and more artificial than it should be, almost as cardboard as the song-writing. Then again, for every work of dullness like "One with the Flies", "Stabbing the Drama" and most of "The Crestfallen", there are still some tasty melodies and songwriting with the likes of "Nerve", "Weapon of Vanity" and "Distance". Now if only the entire album were like the good tracks without all the clutter...
So at the end of the day this album is better suited for SOILWORK completists and metalcore fans. Other than that, we're better off with every album up to "Figure...".
To be honest, this was the second Soilwork album I heard and I was fine with it, I thought I'd found this bands style of music. But after hearing Natural Born Chaos and Figure Number Five, the change graph has confused me. Stabbing The Drama seems like it should've come just before Natural Born Chaos, because it sounds almost exactly like a turning point between that album and A Predators Portrait.
The reason I'm giving this album 30%, is because Soilwork have proved something. They've proved that they lack ideas and that they aren't sure how to please the fans. Yup, this album is just for the fans and the money. It sounds like they've looked back and usd some riffs that they didn't use when constructing APP, in fact, possibly whole songs. The drumwork has been heightened, the guitar work has been heightened, everything has been notably reverted. It's like the rollback option when you uninstall Windows Media Player.
Some people might wonder why I have such a big problem with this, since I liked A Predators Portrait so much and why I gave it less marks than I gave that album. The reason is that the album stagnates in the same way that APP did, but the stagnation starts earlier. It has two killer songs to start the album off, the title track, which has an awesome riff at the beginning, and One With The Flies, which merges melody with brutality for a surprising effect. After those two, BAM! Everything is the same quality as APP from "Structure Divine" onwards.
Also, in the same way, APP's title track kind of brought back the metal to the album for a bit, but a tad too late. Surprise surprise, it's EXACTLY 4 tracks away from the stagnation point, and so was APP's title track. If that's not a sign then by damn is it one hell of a coincidence.
If they merged the first two tracks of this album with APP and kicked out Shadowchild and Structure Divine, that would be the album Soilwork is looking for. But the only problem is, after coming up with 2 or 3 awesome songs, they get far too hopeful about an album and just rush through the other tracks, and it's because of this that the band is taking an even lamer route than Metallica took down the spiralling road of dying musicianship.
Many people have been bashing this record caliming that Soilwork have sold out and that they've gone nu-metal, I think that this record is pretty straight melodic death from a very tight band with an amazing singer. It may not have the "trooo" quality that some fans may be looking for, but I would that this is a very musically adept record.
For one thing there is way too much riffing on here and some prrtty kickass drumming from newcomer Dirk Verbeuren to kick things off with a solid smack in the opener "Stabbing the Drama". This record however, belongs to Speed, the singer. His screams are pretty good and his clean vocals are absloutely amazing. He manages to find a catchy and impressively coherent melody for each song, and I find the band keeps it fresh on every turn here. The musicians are super tight. The drums and the guitars lock in seemlessly and there seems to be an amazing band chemistry going on throughout the record's entirety.
The record itself has strong songs all the way through. There was never a moment on this record where I was REALLY disappointed. This is just very strong and catchy melodic death metal.
Some particularly good songs are the heavy as shit "One with the Flies", "The Crestfallen" has a very nice breakdown, "Distance" and Observation Slave" are the two tracks which to me had the strongest melodic choruses, and "Blind Eye Halo" is just absolutely crushing with a very effective use of blastbeats.
This is a very solid record with some very strong smart song arrangements and some wicked musicianship. I think there's a reasong Soilwork get the publicity they do; they've truly honed their craft and at least this time, to me, have released a very solid offering.
Being a faithful follower of Soilwork and their change in direction, Stabbing the Drama really comes as no surprise to me. It is as many have pointed out a logical successor to Figure Number Five. Straying further away from the sound that many enjoyed between the Chainheart Machine-Natural Born Choas era of Soilwork. Gone are the guitar melodies from A Predators Portrait and the continuous aggression of Chainheart Machine. But I'm here to judge the cleverly named *rolls eyes* Stabbing the Drama.
Soilwork is trying to break more ground in creating an intense sound while retaining a more accessible presence simulatoneously with the increased alternation of clean vocals and radio friendly choruses and far more simplistic guitar riffs. There are many moments in this album where I do recall guitar parts that would not be out of place on a nu metal record. Now I'm not going to directly call this such an atrocious name but have they have strayed quite a bit from the metal direction in favour of a more accessible approach. The middle section of Nerve is a perfect example. as well as the helmet reject riff from the verse of The Crestfallen for nu moments.
Even if Soilwork's vocalist have improved his overall vocal's it just begins to seem further our of place than ever before and throughout the entire album the listener is just wanting more and more. The rhythm is not memorable at all as most bands but the problem here lies in that the guitar parts are only slightly above this. Half the time now they do not even achieve half thrash guitar raffs.
All criticism aside, this album could have been alot worse. It had a bit much of a nu/hardcore presence for my taste and I'm sure there are many out there who will appreciate this effort alot more than I have. Their vocalist does not suck and sometimes the riffs are a bit catchy although entirely unmemorable. Nothing headbangable but occasionally enjoyable. I would recommend Natural Born Chaos if you are more interested in the new side of Soilwork because I do feel they have done enough of what they attempted on Stabbing the Drama much better on previous albums.
Ah, the new Soilwork release guaranteed to garner much hatred and praise at the same time (much like all Gothenburg these days.) Stabbing the Drama sees the band taking one step forward and one step backward, instead of gutting themeselves completely of metal as they did on Figure Number Five (that while still decent, was very flat and bland compared to previous dynamism of A Predator's Portrait and Natural Born Chaos) Soilwork have brought back an aggressive edge that while not near the quality of TCM or APP(save for the brutal Blind Eye Halo) injects the much needed kick in the ass they needed.
However fans of the almighty Soilwork chorus fear not, the clean vocals are still here in abundance, and Strid has truly become a very versatile vocalist trumping anything he has done in the past by a fair margin. It is also Soilwork's most distinguishing feature that makes them such a scapegoat amongst the metal community, while they are delightfully hooky, and happy there is no doubt they are extremely strong and suit the music surrounding it, despite its predictability and shallowness(if you want depth your looking in the wrong genre and band, Progressive and Avant-Garde is across the hall). Which is why I could never understand the haters of bands like Soilwork, I mean what the fuck did you expect? if you don't like it, move along.
The guitar work of Peter Wichers and Ola Frenning is pretty basic on this release, many riffs are simple displays of rhythm, Fate in Motion comes to mind as one of the key culprits. While other riffs throw around triplets and tremelo's reminiscent of the bands early days (like 5 years ago). The solos while sparse and many seemingly shortlived, are well played with the typical Wichers flair. Noticably, the keyboards have taken an immense back seat when compared with FNF, only truly affecting some intros of songs, and providing some background atmosphere and occasional melody. The drumwork of Dirk Verenbaum is minimalist in most cases, exactly what it needs to be for an album like this. He is only really let lose for the 3 minutes of Blind Eye Halo which seems like it was saved from the TCM sessions and slapped on StD, a surprise and gem for the old fans for sure.
Finally factoring in the production of Daniel Bergstrand, the band reaches its polished pedestal it should, the drums have almost the exact same sound that they did on In Flames last two albums, which can be annoying in some respects but the rest of the band is handled well for a release like this. Overall Soilwork has certainly sprung back to life after the rushed Figure Number Five, and brings hope for the future of the band who still seem to be tweaking the balance of old and new. While their arguably most metal days are behind them, I still recommend Stabbing the Drama to those who enjoyed NBC alot or are in the mood for simple, instantly-pleasing melodic metal that somehow perfectly fills that small void that cannot be filled by other genres.
Soilwork have always been one of my favourite 'Gothenburg' style bands since I heard their brilliant 'A Predator's Portrait' 4 years ago. Their work before it was awesome, especially 'The Chainheart Machine', but didnt do much to distinguish them much from the rest of the melodic death metal bands coming out at the time. Natural Born Chaos was an excellent step forward towards gaining their own identity, while Figure Number Five was a case of 'more of the same' since it came out barely a year after its predecessor. Which leads us to 2005's Stabbing the Drama.
The album starts off pretty well with the title track, which is your standard Soilwork fare, catchy verse, decent riff and a melodic, memorable chorus...but a few songs down the line and Im thinking, "this album is going nowhere". All the songs are heavily reliant on the choruses, which are the only memorable parts of the songs...but the remaining parts (ie. the verses and the breaks) just sound like they came up with a 'meh' riff on the spot and asked Bjorn to scream over it. Theres too much of chugga chugga going on in the verses, and Speed just sounds like he's going through the motions with his monotonous, lifeless screams. To add to the bland riffs and vocals in the verses, there are barely any solos, which render the songs totally devoid of any creativity.
In the end, (or rather half way through the album) its pretty clear that the guys are just too lazy to write some kickass metal, and are instead just trying to milk to death the successful formula they created on NBC. But the big problem is, theyre running out of good ideas. They've tried to make every song sound like a radio hit, hence they all clock in between 3 to 4.5 minutes, and follow an almost identical pattern, with no room for any creativity. The songs sound more manufactured, rather than 'created', which is eventually why this album has nothing all that interesting to offer, save for some good melodic choruses, and some catchy sections here and there.
In a year where there have already been a string of great albums released, and whole lot more great ones to come later on, Stabbing the Drama will be left languishing in mediocrity, and if Soilwork dont pull up their socks soon, they will just fade into irrelevance as far as the metal scene is concerned.
Oh sweet Jesus…where to start with this one! It is fair to say that the new Soilwork disc is one of the more polarizing albums that will be released this year. Back in the day – around the ‘Chainheart/Predators’ albums, there was much love thrown in their direction - Soilwork could do no wrong. As we now know, things went a little pear shaped with the arrival of ‘Natural Born Chaos’ and 2003’s ‘Figure No.Five’. Sure, there was still much love to be found for the band. But in total contrast there’s been a hell of a lot of hate develop also. ‘Stabbing the Drama’ isn’t going to help matters either – from what I’ve read, the hate directed towards Soilwork and the band they have become is now at absolute fever pitch.
If it wasn’t confirmed with FnF, the arrival of ‘STD’ will forever split Soilwork’s fan base right down the middle. Soilwork are now akin to someone like Cradle of Filth – adored on one hand and thoroughly despised on the other. Still, none of that is a revelation is it? This has been brewing for a few years now. And really, did we expect anything mind boggling progressive on this new disc? Not fucking likely punters. If you never cared for Soilwork’s last two albums, then you’ll be mortified at the prospect of hearing ‘STD’.
Talk about stuck in a rut. Either Soilwork have become very, very comfortable will churning out what is now a very concise signature sound or they’re at a complete and utter loss as to how to rectify the situation. ‘Stabbing the Drama’ is the result of a band running on autopilot.
Surprisingly, to this hacks ears at least, ‘STD’ is actually a much more enjoyable listen than the abomination that was ‘FnF’. But that isn’t really saying too much is it? Nope, this is a well oiled machine that seems more content to provide what the masses crave rather than pleasing themselves. There’s nothing daring here at all folks – in fact, via the overtly glossy Daniel Bergstrand production, ‘STD’ zeroes in on executing all of those ‘characteristic’ elements that they’ve now become loved/hated (you choose) for to an even more heightened sense of delivery. Cue the template folks – emotive aggression, nu-metal-ish guitar riffs and the now obligatory hash verse/quiet bridge/harsh verse to MASSIVELY MELODIC clean vocal choruses - Every time for every track; Formulaic to the point of redundancy. For fans of Soilwork’s earlier material, that means you’re in for one damn frustrating listen.
Yes, ‘STD’ is a much more tolerable listen than ‘FnF’. At the very least Soilwork have added a bit more beef to their sound and overall the songs are a tad more cohesive. But really, there’s not a whole lot to separate the two. Yet, as much as I despise the bands refusal to tear themselves away from their formulistic song writing approach, the main problem I have with this disc is the same problem that inflicted the last two In Flames albums - The vocal emphasis. Both of these bands have made a dramatic leap from guitar-riff oriented bands to bands that are now solely vocally driven. There is no question in my mind that the guitars come a distant second on this album. Bjorn ‘Strid’ is now such an overriding factor in the way this band presents itself that you’re hard pressed to actually hear anything remotely interesting musically. It’s a sad development that I can’t see being rectified anytime soon.
As stated, ‘STD’ is the result of a band that is quite willing to pursue the mainstream metal market for all it is worth. The recipe is well and truly perfected (according to them anyway) - It’s a well oiled machine that virtually runs on autopilot. Clearly Soilwork can write this shit in their sleep and quite possibly they have another dozen tracks in the can ready for the next round. ‘STD’ is a super slick sounding modern metal album. It’s far from the most remarkable disc you’ll hear this year, but somehow it is strangely enjoyable; or hateable. Again you choose.
Krozza: written for www.pyromusic.net and www.wallsoffire.de (english)
Finally, arriving in the inbox was the one promo CD that all the other metal DJs practically creamed themselves over. The two track sampler simply wasn't enough, and it was about damned time this released showed, even if the version here is censored for radio airplay.
Anyhow, everything I have read bashing Soilwork is in comparison primarily to Figure Number Five and Natural Born Chaos. Those are the obvous idiots who have only heard those two and feel that is their "sound". Thanks to the faltering suckcess (heh, impressive word, isn't it?) of Figure Number Five, the band decided to try to reinvent themselves once again, but not into something new. They went back to the style that adorned their Chainheart Machine album, but still keeping hold of some melody.
Many of those who bash this album only listened to the promo two song sampler, or to a few moments of a song, only sampling each off the album, according to many reviewers later on. The fact of the matter is that the band has progressed into a melodic act that can serious destroy any other band, quite possibly In Flames with their pedastols and torches held high. The music is simply fast, catchy, and brutal at times. The vocals are absolutely amazing, ranging from screams to singing (and yes, singing is allowed in a MELODIC act. If everyone sounded like Dark Tranquility metal would be boring), with some pretty impressive lyrics thrown in as well.
Sure Stabbing The Drama isn't the best album compared to their earlier releases, but it can definately hold a torch to them atleast with some of the tracks (i.e.: "One With The Flies"), and is definately their best release in the past couple of years. Those who haven't been fans from the start definately won't like it, and if you though Figure Number Five was the greatest album ever created, then you should just shoot yourself point black with a 9mm if you think you'll like this one. Soilwork isn't nu-metal. They are "gothenburg", and are one of the best...with the two blemishes prior to this release stricken from the record, of course...
Soilwork has managed to craft another fine album. Which is quite a feat, as it's their sixth album in seven years. Commendable.
Soilwork changed up a bit on this one like always. Most notably, the production. Soilwork's production is usually thick and dense, this time it's clean and crisp, but still perfectly showcasing the bands talents. Also, the keys, always a massive part of the 'Soilwork sound' have been reduced to mere backround effect here. This is a guitar/rhythm based album through and through, which is new for Soilwork as their sound has always been about the melody and stratosphere. (stratosphere is a term I use to describe 'flying' leads and keys, like you'd hear in most gotherburg bands).
Vocally, Speeds best output yet. Over the past few years, he's really progressed as a vocalist, and has a much easier time transistioning between verse and chorus, as opposed to say A Predator's Portrait where he sounded awkward and uneasy. The guitars here, while not as technical as they used to be, still are very catchy, interesting and drive the sound well, no problems there. The druming is excellent, killer fills and bass work. Would you expect any less from madman Dirk Verbeuren? the man who gives Tomas Haake a run for his money.
The song structure is similar to Figure Number Five, with the songs consisting of verse-chorus-verse-solo structure. But here it's not nearly as power-pop as FNF was. The verses are definetly headbang/pit worthy, very catchy and unique, and the chorus' are a flying affair that will be stuck in your head long after you turn the album off for other things. Catchiness as always been Soilwork's secret weapon, and Stabbing the Drama does nothing to tarnish that fact. Brutal, uplifting, memorable Soilwork. No more, no less. Awesome.
I can't believe that these guys are releasing another album that sounds exactly the same as their last yet slightly more retarded. "Figure Number Five" sucked quite badly and had about 2 minutes of worthy music and this is even worse. This band isn't even a metal band anymore in my opinion. These songs are pop tunes. A B-tuned guitar that occasionally blurs out something Korn-sounding doesn't change that. There really isn't any metal to be found here.
Basically, it's all the same. The only "progression" they've made is introducing those random fast parts that many tracks on In Flames two latest shitfests had. Many people would call these "Thrash riffs", but what the fuck? It's just a mallcore Gothenburg riff played fast with some muppet-sounding fast drumming on it. That isn't thrashy damn it. The riffs here are generally rehashed "Colony"-Gothenburg stuff or downtuned 3 chord dissonance ones. Either way, they range from almost being acceptable to total suckage. What really bugs me is that most of the musicians in this band are capable of playing something that truly belongs in the metal genre if they wanted to. What the hell, they could have disbanded Soilwork in 2001 and made an electronic sounding rock band instead.
As for songwriting, there's nothing good to find here in that department either. Soilwork were actually achieving their catchiness goals way better around the time of "A Predator's Portrait" and "Natural Born Chaos". The songs here are even more randomly written than those on FNF. Nothing fits together in any way when it comes to riffs, choruses, verses, whatever. There is no musical flow to be found anywhere
This album does what each and every other mallcore/Gothenburg clone does. It wanks around, wanks around some more, and then it's over. There is no direction, no metal and no intensity to be found. I'm sure every fan of swedish pseudo-metal will love this though, because "Stabbing The Drama" certainly shows off what that genre is in every way. Sadly (for Soilwork), I want actual metal in metal. I find this album to be a display of total crappiness.
First thing that should be made clear; those who have never liked Soilwork will find nothing new here, and likewise those who have not liked Soilwork since Natural Born Chaos will not find anything interesting in Stabbing The Drama either. However, while this new record does not deviate from the path set-upon from NBC, and furthermore with Figure Number Five, it does go to surprising and ultimately satisfying lengths to reclaim the 'punch' that many complained was lacking in FNF.
The overall sound is best described as a fine-tuning of Figure Number Five; the songs still feature a lot of radio-friendly 'airspace' interspersed between the heavy power-chording, and even moreso than FNF but arguably not so much as NBC, there is far more melody to be featured here. The candy-sprinklings of electronic keys that characterized FNF have more or less been removed on Stabbing The Drama; the keys having been relegated back to a supporting role, rather than a detailing one. Incidentally, and very thankfully, the riffs and drumming have been given a welcome kick up the backside; there's newfound aggression and power in the delivery on Stabbing The Drama that harkens back to days even before NBC. Songs like Blind Eye Halo, Weapon of Vanity and the beginnings of Crestfallen and Nerve, while still submerged in the staccatto detuned riffing of more accessible metal are nevertheless played and produced with more conviction than ever before in 'new' Soilwork. The drumming is also more adventurous this time around; the bass drumming in particular more often directly supporting the riffs in a fashion reminiscent-of, but not as constant as that of Fear Factory's approach. The melodies, unbelievably, and in spite of the fact that this is undeniably a far more aggressive record than FNF, have been expanded-upon and indulged-in. Almost every single song bar the furious Blind Eye Halo spends considerable playing time exploring extended clean vocal passages with subdued and tastefully used keyboards. While Strid's clean vocals don't explore new territory or hit new highs, they are nevertheless consistent, built-into the songs efficiently, and aren't overly cheesy. What is possibly the most startling change on this record (for me) is Strid's harsh vocals. They're back...and they're the best harsh vocals he's snarled onto disc since A Predator's Portrait. Drier, more aggressive, but also backed-up refreshingly often with new low growls on many tracks, notable ones like Stalemate and Blind Eye Halo making definitive if restrained use of them.
As noted, this won't convert anyone who wasn't into the NBC and FNF records already penned, but for those faithful to new Soilwork, and maybe even for those who were indifferent to those two records, there is a hell of a lot of newfound energy to be credited here.