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PAIN OF SALVATION

Progressive Metal • Sweden


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Pain Of Salvation biography
See also:

- Dial
- For All We Know
- The Shadow Theory

Pain of Salvation is widely known as one of the fundamental progressive metal bands from the second generation, which came around the mid 90's, but the fact is that the band is one of the oldest progressive metal bands still active. The band was formed by guitarist, singer and composer Daniel Gildenl÷w and friends in 1984, two years after Fates Warning, Three years after Queensr che and a year before Dream Theater, when Daniel was only 11 years old. At that time, the band was called Reality, but as Daniel got older he realized the band's name needed to changed, despite the band being basically the same. So, in 1991 the band officially changed from Reality to Pain of Salvation. Daniel, over the years, gave various different reasons for the change of name, but the common feature of all those explanations is the fact that the name symbolizes the balance between things of vital significance, such as good and bad, light and dark, life and death.

The band had numerous personnel changes, mostly during the Reality period and the early period of Pain of Salvation up until their second album. Since the release of One Hour by the Concrete Lake the band remained fairly stable, with only two important band member changes: when Kristoffer Gildenl÷w, Daniel's brother, left in 2006 due to being unable to attend to rehearsals because he lived in Denmark, and when Johan Langell, Pain of Salvation's drummer since 1989, left in 2007 in order to focus on his own family.

After having a reasonably stable lineup for some time, Pain of Salvation decided, in 1996, to search for a record deal with some record label, but first recruited the keyboardist Fredrik Hermansson to complete the band's intended sound. During the rest of 1996 they distributed various demo tapes in hope to get signed with any interesting label. In early 1997 the band started recording their debut album in Roasting House, a professional recording studio in Sweden, and in August of the same year Entropia was released in Asia by Avalon, a Japanese record label owned by the Japanese record company...
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In The Passing Light Of DayIn The Passing Light Of Day
Insideout Music 2017
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Remedy LaneRemedy Lane
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Road Salt TwoRoad Salt Two
Emi Import 2011
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BeBe
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PAIN OF SALVATION discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PAIN OF SALVATION top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.10 | 517 ratings
Entropia
1997
3.91 | 482 ratings
One Hour By The Concrete Lake
1998
4.23 | 1151 ratings
The Perfect Element - Part 1
2000
4.22 | 1080 ratings
Remedy Lane
2002
4.11 | 827 ratings
Be
2004
3.21 | 565 ratings
Scarsick
2007
3.35 | 463 ratings
Road Salt One
2010
3.52 | 382 ratings
Road Salt Two
2011
3.23 | 115 ratings
Falling Home
2014
3.86 | 272 ratings
In The Passing Light Of Day
2017

PAIN OF SALVATION Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.42 | 295 ratings
12:5
2004
3.97 | 116 ratings
The Second Death Of Pain Of Salvation
2009
4.21 | 28 ratings
Remedy Lane Re:Lived
2016

PAIN OF SALVATION Videos (DVD, Blu-ray, VHS etc)

4.39 | 200 ratings
Be Live
2005
3.95 | 101 ratings
Ending Themes - On The Two Deaths Of Pain Of Salvation
2009

PAIN OF SALVATION Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.80 | 31 ratings
Remedy Lane Re:Visited (Re:Mixed & Re:Lived)
2016

PAIN OF SALVATION Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.47 | 25 ratings
The Painful Chronicles
1999
3.64 | 31 ratings
Ashes
2000
3.32 | 108 ratings
Linoleum
2009
4.88 | 17 ratings
Remedy Lane Re:Mixed
2016

PAIN OF SALVATION Reviews


Showing last 10 reviews only
 Be by PAIN OF SALVATION album cover Studio Album, 2004
4.11 | 827 ratings

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Be
Pain Of Salvation Progressive Metal

Review by mlkpad14

5 stars Pain of Salvation was founded in 1984, by the eleven years old Daniel Gildenl÷w, in Eskilstuna, Sweden. Every album released thus far has been a concept album; from Remedy Lane (2002) to The Perfect Element, Part I (2000) and In the Passing Light of Day (2017), the band has released a multitude of albums in the progressive metal genre. However, their most ambitious effort to date - that is BE (2004) - transcends any genre. It is not only a great musical experience but a major crack at ideology and philosophy. To be blunt, BE is Pain of Salvation's masterpiece, but it is also a very challenging and rewarding album.

This review will first describe the musical journey, and it will also analyze all of the themes included.

--

"Animae Partus ("I Am")" sounds like it belongs in the soundtrack for "The Tell-Tale Heart" by Edgar Allen Poe. It introduces the album with menacing bass notes and ominous breathing. In the background, snippets of gospel-like and harmonic vocals can be heard propelling the song forward, but first and foremost are spoken word vocals that are not uncommon in post-rock. All of it makes for a very haunting two minutes.

Next, "Deus Nova (Fabricatio)" first makes use of The Orchestra of Eternity, which is truly an integral part of the album. A minute in the instrumentation becomes heavier; grand, progressive keyboards, guitar soloing, and nu metal rap vocals make up the majority of the track, but towards the end, the "Animae Partus ("I Am")" feeling returns, and the spoken words can be heard echoing.

"Imago (Homines Partus)" is not unlike "Songs from the Wood", by Jethro Tull. It is obviously folk-influenced, what with the acoustic guitar and flute playing that is dominant throughout. However, "Imago (Homines Partus)" also features a lot of contrast, which gives it the defining Pain of Salvation sound first established in The Perfect Element, Part One. The ending sound effects create the image of a forest: branches rustling, wind blowing, and pond cracking.

"Pluvius Aestivus" again makes brilliant usage of The Orchestra of Eternity. The piece is piano-driven, and it would not be out of place on Tchaikovsky's Swan Lake. Nobody would have ever expected something like this to appear on a Pain of Salvation album, but Gildenl÷w is highly well-rounded.

"Lilium Cruentus" has an epic feel, so that in many ways it sounds like a twisted version of a ballad. There is more going on here than there appears to be: the soft parts sound repressed, but so do the rapping and screaming parts; albeit forceful and angry they are definitely curbed. The significance here is that this drives the album forward, and it foreshadows some sort of breakdown later on in the album.

"Nauticus (drifting)" comes out preachy and features more gospel. It is even more repressed, as if further elevating that future epic. At the end, there is some humorous spoken word music (think Frank Zappa).

If the theatrical "Dea Pecuniae" was performed on Broadway, it would probably alienate a lot of fans; however, Mike Patton would certainly approve of the vibe. A little over three minutes in, Gildenl÷w's guitar solo is most unexpected, but Cecilia Ringkvist comes in strong on vocals, eliminating any doubts. Guitar harmonics are also responsible for the strong and successful development that makes the song, and eventually everything comes together - the shattering of a glass, screaming, and then this spoken word outro, leading right into the next song.

"Vocari Dei (Sordes Aetas - Mess Age)" is pure post-rock; piano and subtle sound effects carry the spoken words. Godspeed You! Black Emperor's Lift Your Skinny Fists Like Antennas to Heaven is a clear inspiration - Pain of Salvation's distant contemporary. Amongst the typical English language, "Vocari Dei" uses Japanese, Dutch, and Greek to its advantage.

"Diffidentia" - headbangers, it's metal! Now, at last, we get a typical Pain of Salvation song: driving and heavy guitar, complex time signatures and subdivisions, gentler choruses, and brilliant dynamics. With the release of BE, many were disappointed that there was still no trace of The Perfect Element, Part II - they should have listened to the whole record first! What is so impressive about "Diffidentia" is that the orchestra is, even now, and undeniable part of the music!

"Nihil Morari (Homines Fabula Finis)" opens up with a repetitive rhythm on the fretless bass (reminiscent of Tool). It continues to use prog metal and nu metal as its biggest influences, and it also links back to "Deus Nova (Fabricatio)". On top of all of that, the piece screams Serj Tankian at times - all of that, of course, being pretty awesome!

"Latericius Valete" has somewhat of a symphonic feel and is somewhat of a guitar and cello duo. Together, "Latericius Valete" and "Omni (Permanere?)" sum up all different parts of the album, providing temporary closure. "Omni (Permanere?)" has the trademark prog sound popularized by Genesis and Gentle Giant - guitar arpeggios fit in very well with the orchestra, indeed.

Finally, "Iter Impius" could not be placed better in the album. Easily the best track off of the album, "Iter Impius" is six minutes of pure emotional bliss. It is almost a continuation of "Dea Pecuniae" except the ballad is more straightforward and heartfelt. Here, like throughout Remedy Lane, Gildenl÷w's vocals are in full form, and nobody has a vocal range like he does! Sometimes, piano and vocals is the best way to go!

"Martius/Nauticus II" is a return to the folk style of "Imago (Homines Partus)", and it basically concludes the album. That is, "Animae Partus II" has some drumming and thumping, but otherwise, it is four minutes of silence (at the end, a family can be heard laughing and enjoying themselves).

Additionally, each part seems to begin and end on either an epic or silent note, which is cool to say the least.

My top 5: 1. Iter Impius 2. Dea Pecuniae 3. Imago (Homines Partus) 4. Diffidentia 5. Nihil Morari (Homines Fabula Finis)

--

2017 interview on Pain of Salvation (Daniel Gildenl÷w):

"My biggest problem is that I don't believe in God, which makes everything very difficult. But, I still feel the need to address God. That's the weird thing. I've always felt that the notion of God is really important. Divinity for mankind and sort of God life being is a very strong and important concept for mankind, so it's impossible not to be fascinated and deal with it.

I talk to God every once in a while. I always start with "sorry for not believing in you". There you go... You know, for the odd chance that he or she actually exists... It's not therefore that I don't believe in them (laughs). Things can exist even if you don't believe in them. It's not that I'm saying that it's impossible that there is some sort of God; I just don't believe in it.

I tried to make that thought experiment in "BE", that if there is a God, by default that God must be on a level of existence that we cannot grasp or understand. That doesn't necessarily mean that it's something exceptionally bizarre..."

On BE:

"Chinassiah is a word puzzle, as so many other titles and phrases on the album. It derives from the combination of China (for fragility and beauty, but also man made) and Messiah (for savior but also the notion of something in which we, humanity, put our faith for salvation)."

The Latin errors are on purpose, and each of the puzzles can be translated into English.

"Animae Partus ("I Am")" can be translated to mean "A God Is Born ("I Am")". It describes how Animae, the album's representation of God, first appears out of nothing. It ends on the haunting line, "And I will spend the rest of forever; Trying to figure out who I am."

"Deus Nova (Fabricatio)", meaning "New God", describes how people first populated the Earth. Animae looks down upon the people and states, "I think they will teach me something."

"Imago (Homines Partus)", or "Imago (Man Is Born)" , is more on the birth of man, which, in the album, is represented by Imago. The lyrics describe the moralities of Imago, and the "Breathe and BE" qualities of Imago,

"Pluvius Aestivus" means "Summer Rain". It is strictly instrumental, but it most likely represents "longing for the things we could not be" from Imago. Man is beautiful, yet far from perfect overall; for every champion, there is a rotten egg too.

"Lilium Cruentus", "Blood Stained Lily", is about death, and it is about all those that truly do not deserve to pass on. (leftovers from Rope Ends?)

"Nauticus (drifting)" is about the fictional space probe, Nauticus. According to BE, it is the most intelligent space probe to have ever been created, and it drifts throughout space, searching for answers to "save Earth from itself". Additionally, "Nauticus" is latin for "Sailor"; Nauticus embarks on a journey throughout space.

At the end of "Nauticus (drifting)", Mr. Money is first introduced along with his girlfriend. He jokes about letting her drive the expensive car; in other words, Mr. Money represents "greed" and one who is pretentious (not Daniel Gildenl÷w; he is not pretentious!).

"Dea Pecuniae" can be translated to mean "Goddess of Money". The first part, "Mr. Money", is about how Mr. Money decides he loves money, more than any women; he does not care about making relationships, and rather, he decides to be "cold" and "mean". "Permanere" and "I Raise My Glass" play on the same concept.

"Vocari Dei", "Message to God", is about how powerful faith is. Many are uncertain that Animae exists, or they believe he is no longer there; however, they still pray to him or her - against everything that Mr. Money stands for.

"Diffidentia", "Mistrust", is one big theory revolving around everything that brought about the destruction of Animae - at first, Imago screams of hope, but at the end Imago states, "We failed."

"Nihil Morari (Homines Fabula Finis)" means "Nothing Remains (The Story of Man Comes To An End)". Imago apologizes for all of its sins - "Abuse", "Rape", stealing, and the loss of "thanks" - that finally cause Imago to implode on itself. "Latericius Valete", or "If You Are Strong, Be Strong", and "Omni (Permanere?)", or "Everything", further stress this concept.

"Iter Impius", meaning "Wicked Path", describes how Mr. Money finally wakes up. He has spent all of his money on cryogenics, and asked not be awaken until he be made immortal. How that he is immortal, he is very happy; he does not care when he discovers the absence of Imago.

At the end, Nauticus finally succeeds in his journey and contributes the "BE" that society needs to survive. This is in "Martius/Nauticus II"; in "Animae Partus II", Animae comes back, bringing a brand new Imago with him.

What happens to Mr. Money is uncertain. The above review is just my interpretation of one of the best albums ever.

--

Live on, Pain of Salvation! (but seriously, I love every album they have released!)

 In The Passing Light Of Day by PAIN OF SALVATION album cover Studio Album, 2017
3.86 | 272 ratings

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In The Passing Light Of Day
Pain Of Salvation Progressive Metal

Review by Mellotron Storm
Prog Reviewer

4 stars I didn't keep following PAIN OF SALVATION's career after "Be" other than hearing of the controversy of the albums that followed like "Scarsick' and the "Road Salt" recordings. I haven't heard the ones between "Be" and this latest offering called "The Passing Light Of Day" but I want to check them out down the road. So I can't say that this is a return to form but other reviewers have said this. Please check out jjlehto's review for some great information about this. This is a return to the heaviness of their classic period and an album that many feel sits proudly with those albums. I know this record impressed me in a big way and I wasn't expecting that.

This album seems to deal with one's mortality which isn't surprising given Gildenlow almost died to the flesh eating disease. That will have an impact on your thought process obviously. This is a fantastic album and it was the heaviness that surprised me initially, especially that opening number. We get some different instruments like accordion, mellotron, lute, zither and so on while electric piano is prominent along of course with the guitar, drums and bass. The vocals are quite varied and there's a lot of emotion on this album.

"On A Tuesday" opens with crushing riffs that get even heavier as the guitar starts to play over top. A calm with spoken words and atmosphere before 1 1/2 minutes then it kicks back in with vocals this time a minute later. We get a beautiful section after 4 1/2 minutes with strings, piano and high pitched vocals. It kicks back in a minute later and ground shaking riffs will follow. Another calm with piano only arrives 7 minutes in as fragile vocals join the piano then we get this majestic vibe before 8 minutes. It's building until it kicks in with emotion around 9 minutes.

"Tongue Of God" opens with piano only as bass and I believe lute join in before it kicks in hard a minute in. Heavy stuff as reserved vocals join in. Soon he's singing with passion. A calm arrives before 4 1/2 minutes with spoken words to end it. "Meaningless" is heavy to begin with and I'm digging this a lot. It settles back as almost spoken vocals arrive. It turns melodic with atmosphere then heavy again with passionate vocals this time. Contrasts continue. I think that's zither that comes and goes. Lots of emotion as he speaks the lyrics with passion after 4 minutes.

"Silent Gold" opens with piano only as reserved vocals join in. When it turns brighter after a minute I feel emotion. Drums before 2 minutes as it starts to pick up slightly. There's that emotional section repeated later. Nice. "Full Throttle Tribe" opens with a sample of someone walking and people talking as drums arrive and build. This sounds like classic POS right here. Vocals just before a minute and it kicks into gear a minute later with passionate vocals. Contrasts continue. Man it's heavy before 4 minutes as the vocals step aside. Just killing it then another calm arrives before it turns heavy again late with samples of distressed sounding people amongst the heaviness.

"Reasons" is different with that brief section of GENTLE GIANT-like vocal arrangements. This is a stuttering and heavy tune that is quite interesting to listen to. Lots of explicits as well plus he sings an answer back to the sung questions as it were. Like I said this is different and interesting. "Angels Of Broken Things" opens with picked guitar I think, atmosphere and more. Vocals just before a minute and a catchy beat. It kicks in at 4 minutes with some ripping guitar over top. It ends with a sample of people talking. Another interesting song.

"The Taming Of A Beast" is catchy with piano and a beat. Vocals before a minute then it kicks in hard with emotional vocals 2 minutes in as contrasts continue. "If This Is The End" is ballad-like to start with relaxed guitar and fragile vocals. Accordion after a minute. Drums kick in before 3 minutes with heaviness and passionate vocals. He starts to speak the lyrics before 4 minutes including lines from the opening track. The heaviness is back! So good! Might have been a great closer here but that honour is for the 15 1/2 minute title track.

"The Passing Light Of Day" is mellow to start. We get relaxed guitar, bass and reserved vocals at first. How good is this before 6 1/2 minutes as it starts to build with vocal melodies but then it settles right back. It's building again after 7 1/2 minutes. Heavy stuff is the result 9 1/2 minutes in until a calm arrives 12 1/2 minutes in and mellotron and reserved vocals will help out here. It becomes majestic sounding as vocals continue.

A very solid 4 stars in my opinion and a reminder why I used to like this band so much.

 Remedy Lane by PAIN OF SALVATION album cover Studio Album, 2002
4.22 | 1080 ratings

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Remedy Lane
Pain Of Salvation Progressive Metal

Review by Luqueasaur

4 stars Listen to it on a really sad day: 8/10

Aside from excitement, boredom, enjoyment, or nostalgia, I have never had felt anything while listening to music. For the first time, though, REMEDY LANE's sheer pessimism and darkness touched my heart and changed this hitherto paradigm. I still remember my experience with it: I felt morose for the rest of the day. Never it happened: never music was able to evoke such intense (and dark) emotions to me. The anguish from a year ago feels as vivid and intense as from yesterday. The music is gloomy although nothing too profoundly, but the lyrics, good lord, it feels like staring into an abyss, as its darkness sluggishly and intensely injects grief and anguish in your mind. Maybe its efficiency in being emotionally provocative have something to do with its introspective and truthful nature, being frontman Daniel Gildenlow's "biography" and also viewpoint on several horrible things that happened in his life. Lyrically and conceptually, the album is a devastating - and touching - masterpiece, although musically it is rather lackluster. I can't seem to find material for replayability, mostly because if you listen to this out of context it'll lose its potency. Nonetheless, HIGHLY recommendable. An excellent and highly memorable album. In the end, that's the point of music: to provoke something. And REMEDY LANE does it so masterfully.

 Be by PAIN OF SALVATION album cover Studio Album, 2004
4.11 | 827 ratings

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Be
Pain Of Salvation Progressive Metal

Review by SoundsofSeasons
Prog Reviewer

4 stars There have been just a few key moments that I've come across something beautiful, something important, that i found didn't belong in the medium that it was boxed into. A video game that had a wonderful message, a work of art that should be heard and experienced by more people but is dragged down by the fact that it isn't a movie or a book or a painting but a game and primarily is not meant to be anything but. A movie that gifted ideas so profound, but the subject matter is shallow on the surface and takes away from the experience if for no other reason than 'leave that to the documentaries, this doesn't belong in X Y Z movie'. They become cult classics, or resonate with just a few people, but for the most part they are found to be pretentious, controversial, and are either spat at like they are worse than garbage or hailed and loved deeply those that the message touched.

This is one of those times that i find the medium just doesn't, and can't possibly, do the message justice. Pain Of Salvation, like a missionary on a quest for evangelism in a foreign land, forgo their music entirely for the spoken words. It is bigger than themselves, than their music, and they treat it as such. It isn't an album to be enjoyed as music as much as it is an experience for your life.

Now, i started reviewing on this site in my early teen years, and actually the first progressive rock album i ever listened to beyond the standard RUSH albums i had collected before i knew of prog was Dream Theaters - Scenes From a Memory Metropolis Part II. At the time it completely blew my mind, from instrumental skill of the musicians (Mike Portnoy was one of my biggest influences in learning my own instrument) to the way that the album told a story throughout. But, i was young and impressionable and i did not see the faults at the time. Years later i revised my score of the album and found that i no longer enjoyed listening to it for these reasons: the overlong jamming moments of most songs were drawn out and should have been cut down to just enough time to get the idea across then move on, and the subject matter of the album was just kind of laughable and juvenile, cheesy even. I took a star off for these reasons, and i might even take another one off if "I haven't had one single urge to listen to this album in years, and still don't want to even now" was a reason to diminish an albums' value. But it isn't actually, because these concept albums take quite a toll on the individual and it is an investment. Only the highest quality rock operas can be listened to on a more regular basis, and even those you wouldn't listen to in one sitting you just pick out the songs you like and digest in small portions.

At that time, as a teenager, if i had heard and reviewed this album it would have blown my mind 10 fold of Scenes did. But, since then, I've had many existential all-night conversations about life, and God, and why-are-we-here and all that so this albums' subject matter doesn't shock me or really even get me thinking too much as I've done all that and then some.

BE has the opposite issue that Scenes did for me back then, the lyrical content and overall purpose of the message outweigh the music itself. But that doesn't mean i don't still find the message, and in turn this album, important. It is very important, and i do believe that for someone that has not given serious thought into the metaphysical beyond needs to hear this. I have been a fan of Pain Of Salvation for years, but never attempted to listen to/review this album probably because i was more than satisfied with Remedy Lane and The Perfect Element, so i moved on to other bands before finally coming around full circle back to this album. Those albums are perfection, and essential, and the music meshes perfectly with the message. This one is a gorgeous piece of art, but unfortunately it is confined in the realm of a piece of music, and as such it must be judged by how well it works in that medium. I imagine a live stage play would be wonderful, for what its' worth.

I didn't have to listen to this album many times to 'get it', but i also don't find the concept of God and the metaphysical world controversial, it is something i think about daily. So, those reviewers who are saying this is challenging music it really isn't in the sense that the music is challenging, it is the subject matter that challenges them.

If you are a young progressive rock adventurer, do yourself a favor and really give this album a good long listen and if it speaks to you then i suppose it did its' job as the purpose is just to be heard.

Larger than life piece of musical art, that is more art than music.

Essential to experience for some, non-essential to own for others. 4 stars.

 Falling Home by PAIN OF SALVATION album cover Studio Album, 2014
3.23 | 115 ratings

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Falling Home
Pain Of Salvation Progressive Metal

Review by TheMasterMofo

3 stars A lot of progressive metal doesn't translate well to an acoustic format, but that's not the case here. I've had friends who don't like progressive music at all compliment the acoustic cover renditions of Holy Diver and Perfect Day. Obviously if you're a fan of POS, the other songs will be familiar and yet different enough to be pretty fun! This was a surprising gem for me; I wasn't expecting much when I gave it my first listen, but I came away very impressed.

Stress doesn't seem like a song that would sound good in this format, but somehow it sounds amazing. The clean, twangy guitars actually give the song a different kind of life, and hearing the various time signatures and crazy rhythms like this reinvigorated my love for this classic POS song.

Linoleum actually sounds better on this album than it does on Road Salt One IMO. The more laid back approach without the bluesy electric guitar in your face makes this song come across far more subtly but more enjoyably also. Gildenlow's emotional singing is perfect for this song.

To The Shoreline is another Road Salt Song, this one from RS2. Honestly while I like the way this song sounds it's one of the least impressive on the album only because it sounds almost exactly like the original. Its saving grace is the final chorus, which comes across as stronger in this version than on the original track, as the vocals are more dominant in the mix.

Holy Diver is a very strange anomaly. The original Dio version is one of the most classic heavy metal anthems from a time when heavy metal was truly coming into its own. Killswitch Engage did a modern metal cover true to the original that was well-received, too. Well, this is absolutely nothing like either one of those versions. Imagine if Bob Marley was still alive and decided he wanted to write a cover of Holy Diver and have Gildenlow sing... That's basically what you have here. This song has some old school Frank Sinatra-styled vocals and some very reggae funky music going on, and for some reason it works. Really well. The tricky thing about doing a cover is that most bands choose to either cover it exactly like the original or completely do a different take on it. There are inherent risks with both approaches, especially when taking a completely different approach, but this is a risk that paid off.

1979 is another great RS2 song that sounds very similar to the original. With it being their most recent album those songs were really too fresh to try to redo. Just like To the Shoreline, this one still sounds great, but it seemed unnecessary to redo so soon after it was released.

Chain Sling is one of my favorite POS songs of all time; it's almost a perfect song so to change anything is a risky endeavor. This version carries over the spirit of the original really well and is probably the least acoustic-sounding song on the entire album. There's more emphasis on the vocals in this format so I wind up appreciating even more the various harmonies going on.

Perfect Day is a wonderful cover of a classic Lou Reed song. After the whole Lulu travesty I felt pretty ornery towards Lou Reed, but Walk on the Wild Side and Perfect Day are great songs. POS's rendition is so much better in so many ways though. Gildenlow's vocals are so much more nuanced and deliberate. The music behind is smoother than the original. The climax near the end of the song is more dramatic and emotional. It's a great cover.

Mrs. Modern Mother Mary is a toned down version of the Scarsick song. Scarsick gets a lot of hate, so if you hated its in-your-face -rap approach, you'll probably like this version better.

Flame to the Moth is overall my favorite POS re-imagining on this album. It has an almost flamenco feel with the acoustic strumming and the vocal melodies translate amazingly well with the acoustic music. This is definitely a much improved song.

Spitfall is the third and final acoustic Scarsick song and.... It's very amusing to hear Gildenlow delivering spoken word over an acoustic guitar saying things like, "Yeah right. f*ck you. F*ck you right down to the core" and "When you're rappin' your sh*t y'all". This song is meant to essentially attack celebrity culture but it somehow seems more effective in this format because it's so ridiculous to hear someone rapping spoken word over acoustic music. Still, it honestly sounds good.

Falling Home. If you're not interested in hearing covers, you should still listen to this original masterpiece. It's a folky, sad song with absolutely perfect vocals. This song blends the voices of Ragnar and Gildenlow better than any other song I've heard them do together, including newer tracks like Meaningless. If you're a fan of POS's less metal songs, it doesn't really get much better than this.

Overall is this album going to blow anyone away? No. Does it really do a whole lot of new, exciting things? No, it's mostly a self-cover album. Regardless, it's an enjoyable experience that any POS fan should enjoy.

 In The Passing Light Of Day by PAIN OF SALVATION album cover Studio Album, 2017
3.86 | 272 ratings

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In The Passing Light Of Day
Pain Of Salvation Progressive Metal

Review by Corcoranw687

5 stars There is no way to give out less than 5 stars here. This is the latest album from a musician who has always worn his heart and influences on his sleeve, but the only band you can be reminded of is Pain of Salvation. This album has it all; balls-out prog metal like "Full Throttle Tribe", a fun vocal-focused single in "Reasons" which stays in your head for days, and the emotional heavyweights you can always expect from Daniel Gildenlow. We get some very sexual lyrics in "Tongue of God" and during the super cool "Meaningless" which is the song I'd recommend you check out first. My favourite is opener "On A Tuesday", the spoken and sung verses caught me off guard at first before I was introduced to the big chorus. The album was inspired partly by Daniel's battle with flesh eating bacteria, feeling helpless in a hospital bed, and his wife watching him suffer and the impact it had on her. Like much of his music, this is a very personal album from an incredible musician that begs to be heard at least once no matter what you like. This album reminds me of Remedy Lane more than their others albums, but like each new Pain of Salvation album it's a completely new beast, and in my opinion their best album yet.
 One Hour By The Concrete Lake by PAIN OF SALVATION album cover Studio Album, 1998
3.91 | 482 ratings

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One Hour By The Concrete Lake
Pain Of Salvation Progressive Metal

Review by VianaProghead
Prog Reviewer

4 stars Review N║ 110

"One Hour By The Concrete Lake" is the second studio album of Pain Of Salvation and was released in 1999. It's the first album from the band to feature Johan Hallgren on guitar. He substituted Daniel Magdic, their former guitarist. The line up on the album is Daniel Gildenlow (lead vocals and guitar), Johan Hallgren (vocals and guitar), Fredrik Hermansson (keyboards and samplers), Kristoffer Gildenlow (vocals and bass) and Johan Langell (vocals, drums and percussion).

"One Hour By The Concrete Lake" is perhaps the heaviest and darkest album of Pain Of Salvation. Creativity isn't the best way to describe this album. It's completely unique and leaves the listener never knowing what is coming next.

This is a conceptual album focused on the issues of nuclear power and waste, displacement of indigenous peoples, the firearm industry and human discovery. The story is about a disillusioned man that works in the weapons industry and that begins to bring the morals and ethics of his occupation into question, falling into doubt about what it really is that he is doing from day to day with Big Machine. Will his actions are actually harmful? So, on New Year's Eve when he backs home, he makes the resolution of to discover just what effects his apparently harmless actions are having on the world in general. He sets off on a journey around the world, visiting far reaching places and becoming witness to terrible acts that go against everything he was once told and he believes. Civilizations ripped apart by war, lands left barren by environmental devastation, careless water consumption and much more things. In the last step of his journey, he arrives at a desolate shores of Lake Karachay, a place in the former Soviet Union that was used to store nuclear waste for more than forty years and that was eventually covered by concrete to dampen the incredible amount of radiation that was present. Unfortunately, the concrete began to split open after several years. A person would only need to stand on the shore of the lake for a single hour before the radiation exposure would reach such high levels that the person would die from physical injuries, in approximately two weeks. Horrified by his discoveries, the man returns to his home. Considering his situation, he realizes that he will never truly be able to distance himself from the Big Machine, because it's his home and because the world is just a giant labyrinth of machines within more machines. Instead, he begins to understand that a machine is only made up of its wheels and he is nothing more than a wheel inside of other wheels. He decides to stay inside of his chosen machine in an attempt to change its direction.

Musically, "One Hour By The Concrete Lake" is very deep and intricate, as usual on all Pain Of Salvation's albums. The song structures are very well written and nothing is very repetitive on it. The songs usually go to very powerful to suddenly very soft, which is usual too. Pain Of Salvation has really some brilliant musicians. First of all, we have Daniel's vocal range and his emotional singing. He goes from the softest and low most emotional vocals to the most aggressive. Actually, four or five band's members sing which you will notice most of the time. There are a lot of vocal parts with subtle instrumentals. The guitars are powerful and beautiful at the same time and have some great riffs and complex solos. The keyboards are one of the most important things here, which are used very often, and the little piano parts make the album very enjoyable to listen. At the heavy parts, they're usually in the background, and while they might not stand out to much, the songs would sound empty if they weren't there, as if there was something missing. One of the best things about this album is how well all the instruments flow together, and all the band members play integral roles in the construction of each song, making of the album a whole. This is really a great album, indeed.

Conclusion: "One Hour By The Concrete Lake" is considered the weakest of all Pain Of Salvation's first five studio albums. It also seems to be the less favourite studio album from the band to Daniel Gildenlow. Sincerely, I'm not sure if it's true. For me, despite being less good than "The Perfect Element Part 1" and "Remedy Lane", is perfectly at the same level of "Entropia" and, in my humble opinion, is even perhaps better than "Be". The song structures are very well written and nothing is ever repetitive. The songs usually go to the very powerful to suddenly very soft sounds. They flow into each other and sometimes if you just listening to a single song by itself it will sounds very incomplete. "One Hour By The Concrete Lake" is an hour very well spent. It's impossible to listen to this album only once and be able to get its full effect. It must be heard again and again. You also need to read the lyrics, and then read them again, from the first track to the last. The album is an incredible display of all the musical influences that this band uses in their compositions. It filled with everything from classic metal hooks, to progressive metal complexity, to the warmth of the Spanish flamenco. It takes you on a journey through time and space, a journey you really never want to forget.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Entropia by PAIN OF SALVATION album cover Studio Album, 1997
4.10 | 517 ratings

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Entropia
Pain Of Salvation Progressive Metal

Review by VianaProghead
Prog Reviewer

4 stars Review N║ 109

"Entropia" is the debut studio album of Pain Of Salvation and was released in 1997. It's the only album from the band featuring Daniel Magdic on guitar. He was substituted by Johan Hallgren on their next albums. So, the line up on the album is Daniel Gildenlow (lead vocals and guitar), Daniel Magdic (vocals and guitar), Fredrik Hermansson (keyboards), Kristoffer Gildenlow (vocals and bass) and Johan Langell (vocals and drums).

"Entropia" is a conceptual album concerning the story of a family in a fictional society that is torn apart by the war. The title of the album is derived from the words "entropy" (from thermodynamics, the measure of disorder present in a system) and "utopia" (the ideal society). Its concept is very loose compared with the concepts of some of their future albums. While it does follow a central story with specific characters, it also acts as a general commentary about war and societal injustice. So, it's far more open to interpretation and can be approached differently by different people.

However, as Daniel Gildenlow says, this is an album with a very complex concept that is pretty hard to grasp. It's about a family in a war situation, about a father that fails to protect his family, about a child who needs a father and not a soldier, about a society that kills and excludes and then takes its hand away from the remains in shock of what it has become. It's about a world he has chosen to call Entropia, which is in his opinion, suspiciously similar to our world. "Entropia" is the album that started it all. This isn't their best album, but it's still an amazing progressive metal album.

"Entropia" is divided into four chapters and has the following story. The story is about a child, his father and his mother through a period of war in a land called Entropia. When the father leaves his family to fight in the war, the son yearns for his father's return. Sorely missing the love and the presence of his dad, the son strays from his path and falls into poverty and disarray, and finally he died. Broken with the news, the father pleads to God, and swears to take what's left of his family and move away into West Entropia. However, their new life isn't all he expected. West Entropia has its own share of problems. Industry is spinning out of control, the technology is pervasive throughout everything, violence and hate are far closer than ever before, and all of it quickly became dominant. So, the man is unable to protect the rest of his family, his wife, from the dangers of this hostile new world, and she died too. Upon suffering this second loss, the man has another conflict with God, and finally he realise that he was completely enable to protect his loved ones from harm and he commits suicide. This is an album with a very pungent and dramatic story.

Musically, "Entropia" features elements of straight ahead metal, funk, jazz, bombastic progressive rock, bittersweet balladry and much more. Daniel's voice is raw and slightly underdeveloped, comparatively speaking. You can feel the strain in his voice, especially when he attempts to hit highs and lows that would come effortlessly on many of their future albums. Daniel's vocals are fascinating and exciting, as always. From a structural and song writing point of view, "Entropia" has all over the place. The group jumps between styles sporadically, moods and dynamics are constantly shifting around in potentially disorienting fashion, and the instrumental work is easily one of the best that they've ever made. Pain Of Salvation have come to always place the concepts first, and it might not be quite right on this debut. On it, the band was still experimenting with different directions and composing explorative, which is quite reasonable. The rhythm section of Kristoffer and Langell is at its most frenetic, displaying much more of a jazz influenced free style flow throwing around some rather type patterns that we never really get to hear on future albums.

Conclusion: "Entropia" is really an impressive album of Pain Of Salvation. Worth getting with it, for those seeking something new, refreshing, original and who want to listen to something different from the typical progressive metal sound. It's easily one of the best debuts I've ever heard and it marked the starting point of what would be a consistent chain of magnificent progressive metal conceptual albums. "Entropia" encompasses a wide range of different styles of music, like funk, techno and even jazz, but at the core it always has the progressive metal sound. Some progressive metal bands are simply Dream Theater's followers. But this is a band where the emotion plays a big role in the musicianship. The musicianship doesn't equal playing fast, but rather interacting between all musicians resulting in a great balance of composition and improvisation. Daniel Gildenlow plays the lead role with his genial compositions and fantastic vocal work with an amazing range and power. His guitar playing is also technically brilliant and he has his own style. The other band members are of also excellent. I highly recommend "Entropia" to all who wants to hear something fresh and new. It isn't an easy album to get into. It takes a few listenings to fully get into it, but it worth. I'm sincerely convinced that despite isn't as good as "The Perfect Element Part 1" and "Remedy Lane", it's almost there.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Remedy Lane Re:Visited (Re:Mixed & Re:Lived) by PAIN OF SALVATION album cover Boxset/Compilation, 2016
4.80 | 31 ratings

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Remedy Lane Re:Visited (Re:Mixed & Re:Lived)
Pain Of Salvation Progressive Metal

Review by javajeff

5 stars I already had Remedy Lane on CD, and it has always been a masterpiece to me. This new double album version is a real treat. The live version is a stellar performance with the extra ambiance of the live environment. The performance has passion, and Daniel Gildenl÷w's vocals are top notch as always. I enjoy a good live performance on occasion, but I much prefer studio albums. The remastered version of Remedy Lane is like a new album. The sonic quality is up there with the new album In the Passing Light of Day, so they sound great together in a Pain of Salvation playlist. I think it is really worth the upgrade for the sound quality.
 In The Passing Light Of Day by PAIN OF SALVATION album cover Studio Album, 2017
3.86 | 272 ratings

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In The Passing Light Of Day
Pain Of Salvation Progressive Metal

Review by javajeff

5 stars I always expect incredible vocal performances from Daniel Gildenl÷w, but the songwriting for "In The Passing Light Of Day" is just stellar. This album is an instant classic that is up there with the other masterpieces from Pain of Salvation. It is not hard to place this gem up near the top with their other albums, and I will enjoy it for years to come. I have been loving the remixed and live versions of Remedy Lane, so I can have an amazing playlist of similar sonic quality. "In The Passing Light Of Day" from start to finish is perfect with amazing musicianship. I do not really like picking apart prog masterpieces by choosing favorite tracks, but if I absolutely had to choose standout tracks, I would go with Reasons, Angels of Broken Things, Full Throttle Tribe, and The Taming of a Beast. But this beauty is best enjoyed from start to finish, just like every other album from Pain of Salvation.
Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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