HOMEBOUND

I first came across Kristoffer Gildenlöw back in the Nineties when he was with his brother Daniel in Pain of Salvation. Since leaving that band he has been know for working in multiple others, including of course Kayak, as well as having a solo career. This album was originally destined to be an EP to keep fans going until 'Empty' came out, but it was decided there were so many songs available which worked together as a set that if some more material was recorded then here was another valid album. All the songs also have videos, so this has been made available as a CD/DVD set, but what I have is the release as part of the True Music Guide series. For those who have yet to come across these wonderful sets, they include the CD and a large booklet which contains an interview with the artist, lots of background information, photos etc and are a real delight. The album was originally released by Kristoffer on his own New Joke Label on April 18th, and I am somewhat surprised not to have come across more reviews.

Although Gildenlöw will often be thought of as being a progressive rock artist due to his musical history, this is a very different album indeed which has far more in common with acoustic rock and folk. The most important instrument on the album is undoubtedly acoustic guitars, and it is the use of these which provides the platform for his emotional and often dark-sounding vocals. One of the most interesting songs on the album, which fits in perfectly with his own material, is a cover version of Leonard Cohen's "Chelsea Hotel #2" which was originally released on his 1974 album 'New Skin for the Old Ceremony'. That Gildenlöw feels so perfectly at home with this song, and it does not sound at all out of place, is a good exemplar for the rest of the album. Acoustic guitar, delicate bass, organ and his vocals, the song needs nothing else adding to it, as he treats it with reverence and respect.

The album often feels as if he is in a darkened room, sat on a stool with his eyes closed, with everyone else in the background and just a single spotlight on him. This is strong and powerful music from a great songwriter and performer: just do not expect to hear loud guitars and driving riffs, as this is all about emotion and vocals. Wonderful.

KRISTOFFER GILDENLÖW is a Swedish artist best known as a bassist in PAIN OF SALVATION, he is also a musician who worked within KAYAK and especially on his DIAL project in which he explored atmospheric sounds. He's releasing his 3rd personal album here and reminds me a lot of the RIVERSIDE front-man side- project on LUNATIC SOUL, which is to say a much more ambient band than he can do with the original band. Here, pure emotion, you can also think a little bit about CARPTREE, David GILMOUR, Jeff BUCKLEY and Leonard COHEN for a cover. An initiatory, progressive and sophisticated journey where melancholy can reveal cold beauty on an acoustic variation, masterfully completed by warm synths.

"Eternal" with Anne BAKKER on violin and Maaike PETERSE on cello for a soft, ethereal and ambient intro, introspective (well I put it on loop ten times before continuing already!), Like a solemn hymn in front of a field of battle, just the perfect piece to announce "Holy Ground" in chains and with a haunting theme, melancholy limit all on a repetitive acoustic guitar base; my feelings share on the intimate melodies of ANATHEMA 2nd version, on the titles of Jeff BUCKLEY, on the melodic and acoustic escapades of the great PAIN OF SALVATION; moment of serenity, introspection, intimate journey. In fact, this album will be on the same line with a few variations. "Like Father, Like Son" acoustic composition which increases in power in terms of voice and instrumentation over the listening, unstoppable melody that reminds me a little of what KWOON, this small group from Ile-de-France also did not exist. that long; Paul's guitar solo is just divine, too much guitar kills the guitar but a little guitar glorifies it. "Infected" with a very strong track that reminds me of ASIA's "Aqua" intro with Steve HOWE and his legendary guitar; good a reminder on confused and foggy memories but a moving reminder; a piece where each instrument has its place, Ola on brass and Kristoffer on mandolin are overwhelming as Dirk and Jeroen send the percussions back to each other. "Snow" already announces the middle of the album, yes the titles are very short despite the emotion they give off; here a soaring, ethereal and cottony atmosphere which sends me back to the best ANATHEMA just for the crystalline and repetitive synth, to NO-MAN or to PAIN OF SALVATION in acoustics, be careful, in my opinion, the most beautiful piece is the most beautiful piece, the notes fall like snowflakes, we don't know how long the title lasts, maybe 20 minutes!

"Our Home" continues in the same niche, don't expect any musical development within each track, the track itself is one: again reminiscences of KWOON and PINK FLOYD or a bit of the BLACKFIELD, a still very beautiful moment just with a melody that comes out of nowhere all enhanced here by the voice of Erna. "I Cried Today" on a captivating title and chorus, the beautiful part of Maaike's cello just before one of the rare phonic explosions followed by a final with backing vocals; it's the oxymoron that I love, soft and strong, the arpeggios are overwhelmingly simple; to note the calm voice of Kristoffer which can make shudder as loud as that of his brother. "Chelsea Hotel # 2" from whom you know for a cover so sensitive, so emotional, so sensitive which reminds us that we are indeed on a ground that the late Leonard COHEN would surely have been happy to hear, well I think so, to hear his meeting with the other great diva of the voice that was Janis JOPLIN. "You Need No Stay (Away)" concludes the album with a voice and piano duo, a simple title again but with a different melody which provides a melancholy enjoyable moment. Well, a bonus track "Never Changed" extends the atmosphere with an air that reminds me of "Une Fille Aux Yeux Clairs" by Michel SARDOU, known locally; be careful, I'm talking about a fleeting memory of one or two notes but this is strong enough for me to state it; good here Kristoffer uses his voice in phrasing, a bit like in the musical wanderings of Roger WATERS.

That's it, it's over! What can we say except that it was beautiful, intimate, dark, filled with nostalgia, that the tracks were all bathed in a musical atmosphere overflowing with spleen. What if this album is not progressive but bathed in post-progressive sounds? What if it is not that these small tracks are linked over the listening to deliver a delicate restful soundscape, if each piece takes so far without having to play on an exuberant technique? A word comes back to me at this moment nudity or music stripped bare.

To finish, an album without big flights, without big pieces but an album just and simply perfect. An album that is also difficult to rate because everything is just perfect but also just disarmingly simple.

Listening diary 19th March, 2021: Kristoffer Gildenl'w - Homebound (acoustic rock, 2020)

It's not much, but I did find myself enjoying this album a bit. The only real connections here to Kristoffer's former band are some moments where he sounds a bit like his brother on vocals, but otherwise it's a nice, pastoral acoustic folk rock album, with even touches of country and the artier side of rock music. There's nothing to write home about, but given acoustic records from established names in heavier music are often quite uninspired, I'm impressed at how well he manages to sound like a native playing folk music.

5.9 (1st listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction