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Pain Of Salvation - Remedy Lane CD (album) cover


Pain Of Salvation


Progressive Metal

4.24 | 1279 ratings

From, the ultimate progressive rock music website

4 stars Pain of Salvation is back with another highly acclaimed release of theatric power prog.

1. Of Two Beginnings" (2:24) gets one excited for that which could follow! (8.75/10)

- Chapter 1 2. "Ending Theme" (4:59) great chords and melody possibilities in the opening. Things slow down and drop away for the singing of the first two verses. Very sensitive and delicate; I was not expecting this! At 2:15, with the busting out of the chorus, we finally get the full feeling I was expecting, but then the overly dramatic "film narration" within the music . Nice keyboard and guitar interplay in the fourth minute's instrumental section. When Daniel returns singing in his upper register, it's pretty powerful--and then the guitar is unleashed (al little) for the finish. Great potential but too much is held back, held in check. (8.75/10)

3. "Fandango (5:51) frenetic guitar play opens this one before keys and second guitar join. The sinister Joker-like vocal has a Ozzy, Anthony Keidis, or Michael Sadler quality and style to it. (8.75/10)

4. "A Trace Of Blood" (8:17) part Fish-era MARILLION, part RED HOT CHILI PEPPERS, and part GUNS 'N' ROSES. (17.75/20)

5. "This Heart Of Mine (I Pledge)" (4:01) a tender love song that could almost have come from MINNIE RIPPERTON, BENNY MARDONES, or SEAL. Gorgeous and heart-felt! (9.5/10) - Chapter 2

6. "Undertow" (4:47) Almost a Post Rock construct as it rises slowly, building to a crescendo. The highlight for me is the shift into fullness at 2:22 and again at 3:33. (9.5/10)

7. "Rope Ends" (7:02) syncopated staccato riffs of tightly coordinated guitar, bass, and bass drum are joined by keyboard washes and cymbal play before multi-voiced lead come in to sing. The white bread chorus is a bit of a let down. Weird piano-based jazzy psych-pop funk section begins at 3:50 in order to support soloing. Overall, I'm just not a fan. (12.25/15)

8. "Chain Sling" (3:58) using a kind of balalaika effect on the lead guitar riff that repeats ad infinitum in this song, Daniel sings a fast paced, almost-continuous vocal which, to a deaf-to-lyrics kind of guy like me, only serves to hammer home the boring tedium of the melodic loop. (8/10)

9. "Dryad Of The Woods" (4:56) more interesting finger-picked electric guitar work. (Why doesn't he just use a classical guitar?) He's no Jan Akkerman. After 90 seconds piano, bass, and drums join in. From there, this instrumental borders on New Age GOBI-like stuff. Such an incongruous song among the others (but, then, so were "Chain Sling" and "Fandango"). This leads me further from supporting any claim (or theory) that this is a concept album. (7.5/10)

- Chapter 3 10. "Remedy Lane" (2:15) synths & percussion that remind me of a combination of The Who's "Baba O'Reilly" and Pink Floyd's Dragon Toms intro to "Time" run through a flange/chorus effects box to provide an interesting, if dated, futuristic soundscape. (4.25/5)

11. "Waking Every God" (5:19) Weird synth piano opening that is quickly joined by abrasive guitars and jazzy bass. Quite an odd and incongruous selection of instruments! Weak, almost vocals enter feeling as if the engineer and producer were unsure whether or not to include them in the song! (8.5/10)

12. "Second Love" (4:21) finally: an acoustic guitar! Opening with an almost BON JOVI- or POISON-like ballad feel, there is some nice lead guitar play in the third minute over the piano, but, overall, this is just an 80s power ballad. (8.25/10)

13. "Beyond The Pale" (9:56) Probably the best/my favorite Pain of Salvation epic-length song I've ever heard. There are parts (at the beginning) that drag, and the vocal stylings once again sound very familiar, but there are just some great textures here and an overall flow and construct that is pretty awesome. (18.5/20)

Total time 68:06

The band might have a little more of a consistent vision of what it is they are trying to say on this album--both musically and ideologically--and the music feels a little smoother (and less creative) and the singing more staccato- rap-influenced (less creative) than their previous effort, The Perfect Element - Part 1. The music here reminds me more of bands like Fish-era MARILLION, ANGE, SAGA, RED HOT CHILI PEPPERS, and GUNS 'N' ROSES than their previous album and just feels less creative and innovative than Perfect Element. Also, the music of the song constructs are remarkably simple--which leads me to my final comment/question (which is the same as with my review of The Perfect Element): Is this really Prog Metal?

B/four stars; an excellent addition of prog metal-lite to any prog lover's music collection.

BrufordFreak | 4/5 |


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