Music

Album Review: Soilwork ‘The Panic Broadcast’

Published

14 years ago

July 10, 2010

Soilwork is back with their eighth studio album, ‘The Panic Broadcast’. I’ve been listening to Soilwork since ‘Natural Born Chaos’ and have always enjoyed their albums, even though the past few have been a bit lackluster. So, when a new album was announced, it wasn’t even a question as to whether or not I was going to pick it up, it was just a plain fact. So, after two and a half years since their last album, ‘Sworn To A Great Divide’, how is Soilwork holding up? Check afterwards for my official review.

‘The Panic Broadcast’ starts out with ‘Late For The Kill, Early For The Slaughter’, and oh, what a way to start out the album. The first thing I noticed was how tight, focused and polished the mixing and production was. Then I remembered that Andy Sneap (Nevermore, Opeth, Killswitch Engage, Testament) was in charge of mixing and everything made sense. This track is fast, brutal and full of the melody that one expects from a Soilwork song. It also showcases that Bjorn ‘Speed’ Strid is still one of the finest vocalists in metal. I haven’t heard such brilliant usage of vocal harmonies in a while. The chorus is nothing short of fist-pumping and chant worthy. This song sets one hell of a tone for the rest of the album. The best thing though? The album delivers.

The production and mixing of ‘The Panic Broadcast’ is nearly impeccable. Andy Sneap’s mixing abilities are outstanding and are easily shown here. Each instrument is crisp, aggressive, present and can be focused on if needed. I could go into details, but there is really no need. I honestly had trouble finding anything in the production and mixing that stood out or was absent. I will say this, though; there is layer after layer of instrumentation and harmonization. You will need several listens to fully appreciate everything that is going with this album.

The album is full of insanely catchy songs pumped full of aggressive riffs, blistering solos and high energy throughout. Many of the melodies are hauntingly beautiful and will make you replay it a few times before you can FINALLY move on to the next track. My only complaint with this album is that it’s only 10 tracks long. Couldn’t they have given me some more? Yes I’m selfish, I admit it.

‘The Panic Broadcast’ hit me like a ton of bricks and didn’t stop until the end of the CD. I cannot recommend this album enough. If you need something driving, melodic and powerful, look no further. You may just have found your Album of the Year.

5 out of 5

JonathanBarkan

Managing editor/music guy/social media fella of Bloody-Disgusting

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Music

“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

Published

3 weeks ago

April 9, 2024

John Squires

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…