If The Living Infinite was a logical culmination of how Soilwork’s sound had developed over the previous decade, the subsequent Beyond the Infinite EP indicated they were beginning to evolve.  Although it was recorded during the same sessions as The Living Infinite, “Forever Lost in Vain” was something of a bridge track: the song had many of the melodic death metal trademarks that Soilwork was known for, but between Jens Bogren’s smooth production and the ebb and flow of the arrangement, there was also something more esoteric and progressive happening here.  It was here that then-new guitarist David Andersson really announced himself- he largely played it straight on the double album, but on Beyond the Infinite he was more present as a lyricist and driving force, pushing Björn “Speed” Strid to try new approaches with both his vocals and the music (Strid actually wrote the music, but somehow Andersson’s influence was more clearly felt).  It wasn’t longer than usual, but “Forever Lost in Vain” wasn’t as linear and felt more layered and dynamic in its construction, and as a result was less conventionally metal than expected from Soilwork.  In that respect, the track was an early indication that the band was ready to evolve beyond where they had gone (“beyond the infinite”, as it were), and that’s what ended up happening, more or less.

David Andersson RIP

The Night Flight Orchestra - West Ruth Ave

Stålfågel by Soilwork from the album Verkligheten - Video directed by Elia Cristofoli

favorite lyrics from 2019 albums i like ↳ verkligheten // soilwork

At the time, the Beyond the Infinite EP was seen as simply a compilation of leftover tracks from the Living Infinite sessions, and an indication of just how prolific Soilwork was during the making of that double album.  But while The Living Infinite was a natural culmination of what the band had been working towards over the course of their last few records, “These Absent Eyes” turned out to be a precursor to where the group would go a couple albums later.  The track had the usual Soilwork touches, with Björn “Speed” Strid’s vocals high up in the mix, but it was also less linear and more progressive, and while Dirk Verbeuren would’ve eventually left to join Megadeth anyway, this track proved that had he been allowed to record more of his own compositions, Soilwork could’ve been a more interesting band.  Indeed, although guitarist David Andersson only wrote lyrics here, Verbeuren’s music pointed the way to Andersson’s compositions on Verkligheten and A Whisp of the Atlantic.  In that respect, it made sense that “These Absent Eyes” didn’t make it onto The Living Infinite, as it didn’t fit with that album’s more conventional material. But for those paying close attention, Soilwork was signaling what would come next.

The Living Infinite was the natural culmination of everything Soilwork had been working towards, and “Tongue” in particular crystallized Björn “Speed” Strid’s approach to songwriting since Stabbing the Drama broke the band worldwide. David Andersson proved every bit as worthy a musical foil as previous linchpin Peter Wichers, and the song featured every last one of Soilwork’s trademarks, from Dirk Verbeuren’s blastbeats in the verses giving way to double-kick grooving under Strid’s smoothly anthemic chorus, to the spidery solos laid over riffing that mixed Slayer with Mötley Crüe.  As was the case with many Soilwork songs, “Tongue” lived and died on the strength of its chorus, which parted the clouds and delivered with aplomb.  If there was any sort of problem, it was with the feeling that Strid had been here several times before, making it difficult to look past the fact that Soilwork was no longer interested in trying anything different.