REMEDY LANE

Swedish prog metal pioneers Pain of Salvation released their fourth studio album 'Remedy Lane' in January 2002 through Inside Out Music, after gaining momentum with three very well received records that presented something entirely different to the progressive music scene - a metal band that was not quite metal; a prog band that was not always explicitly prog; an intriguing collective of very talented musicians that were gradually developing a sound of their own, virtually impossible to mistake at this point, that can be termed severely original and movingly memorable. 'Remedy Lane', often referred to as the Swedes' breakthrough album, might be their biggest achievement - an album that certainly cemented their sonic portfolio and has gradually gained them massive adoration from the progressive rock community.

While this band and album might be very, very excellent, it has to be said (or rather, disclaimed) that they are not for everyone, and the critical acclaim of this recording and its predecessor are one of the very happy (but few) cases of modern prog being widely recognized as a strength to be reckoned with. Alongside charismatic vocalist and multi-instrumentalist Daniel Gildenlöw, also the mastermind behind the albums' concepts, we see his brother Kristoffer on the bass, Johan Hallgren on guitars, Fredrik Hermansson on keys, and Johan Langell on drums and percussion.

As it is often the case with Pain of Salvation, 'Remedy Lane' is a concept album that deals with Daniel's searching for self-discovery, while touching upon themes like love, sex, loss, disappointment, and suicide - surely a darker prog album that surprisingly or not, contains several very uplifting moments, whether they be from the instrumental prowess the listener is exposed to, or the incredible and unpredictable movements in some of the songs. Thematically strong, lyrically very intriguing, and musically astonishing, we have to say that 'Remedy Lane' impresses as much as it surprises through the unusual songwriting, the specific approach of the bands to writing songs, and the beautiful amalgamation of acoustic and heavy moments.

With 68 minutes of music for the listener to experience, the album may leave some wondering could the same effects have been achieved with 50 or 55 minutes of length? And is the length of 'Remedy Lane' preventing it from being a really 'perfect' album? But this is certainly a topic for another day. What matters is that this record contains some of Pain of Salvation's most iconic and memorable moments that also happen to be fan-favorites, like 'Ending Theme', 'Fandango', 'A Trace of Blood', 'This Heart of Mine (I Pledge)' (which interestingly make up the first chapter of the three-chapter story, with each one spanning across four songs, excluding the opening track 'Of Two Beginnings', serving as an introductory piece), 'Rope Ends', 'Waking Every God', and 'Beyond the Pale'. Just excellently written and masterfully played progressive metal extravaganza, very involving, very touching, and above all, really memorable; This has to be one of the most profound and cerebral albums of the 2000s (and who knows, one day people might say, of the 21st century!). Sublime material!