SALVA

This is Salva's sixth album released in in 2020, and there has since been another, but I haven't heard that one yet. It is safe to say that I was not the biggest fan of the previous release, 'Off The Deep End', and I must be fair and say that this is somewhat better, but still not up to the standard of 'Sigh of Boreas; from 2016. The issue I have with them is that this feels too much like prog by numbers, and there is not enough within it to hold my interest for too long. I had some issues with the vocals last time around, but this time they are much better, but this is an album which just drags. It does get better the more it is played, but the first few times I just did not like it at all whereas now I find it somewhat bearable but also instantly forgettable.

This is solid crossover, and the guitars never have the bite which would take this into another level, and it is all feels somewhat muted, so much so that if this music was a colour, then it would be beige. They try to move more into neo prog areas at times, but it never really comes off, and they are certainly the symphonic prog band they claim to be. In some ways they come across as a sanitised AOR melodic rock band combined with a crossover act and probably missing the audience in both of them. They say in their press release that they produce adventurous music, but nothing could be further from the truth. The production is good, musicianship is fine, it is more the quality of the songs themselves and consequently I cannot be returning to this in a hurry.

SALVA, Swedish group which started when S. GAVIK and P. MALMBERG played handball and found themselves with the same love of music. They started in 2003, immersing themselves in many musical genres! Personally, I have known them since 'Left to burn' from 2007, a flowery, Hispanic and colorful prog with a very particular sound; uncompromising progressive rock, heavy rock, AOR and adventurous pop. Note that R. REED has worked to make them known; this 7th album is a concept about the story of an introverted boy discovering an overwhelming passion for music; slightly self-taught in itself.

'Awakening' tumbles on a hovering then symphonic neo prog intro to launch the title river with a melodic heavy prog declination; varied, thunderous, that's how we could classify it, reminiscent of the ROYAL HUNT for the twirling side; it starts on a long classic crescendo with melodies that quickly catch the ears, between heavy and neo prog. "Discovery" in radio edit shorter, nervous and fits in, AOR limit; a synth solo followed by an evolving guitar moment in break then the majestic voice of Per giving a solemn tone; second more airy solo then return to the chorus on this basic synth sound and finally heavy. "Gig" arrives on a soaring psychic note from the intro starting on notes that JETHRO TULL could have played for this nervous and intuitive guitar; the voice and the rhythm still launch on a ROYAL HUNT boosted by airs of ALAN PARSONS harder, strange and disconcerting; we can find on the keyboards of Johan and Per a rather marked groovy side sailing on ELOY, HAMADRYAD, all sprinkled with a last vibrating guitar solo reminding me of the good period of MANFRED MANN.

'Ghost' aerial piano intro, SUPERTRAMP symphony; vocals pulling on the desperate energy of a MIDNIGHT OIL, proof of the variety of this sound off the beaten track; good thunderous sympho prog rock stretching pleasantly thanks to the fat instrumental part which gives intensity and charm; a sudden cathedral break, the voice as a megaphone, a title with a striking and intoxicating melody; note again a fruity guitar solo juggling between neo and heavy prog decked out with fat synths as one wishes; a finale that reminds me from afar of the BLUES & TRAVELERS just for the flute and the folk accordion. "Everysong" arrives for the uplifting, soulful ballad with lead vocals and piano. "Score" and the final, divine intro...listen; Per with his characteristic high-pitched voice here offers a slow melodic declination; the sound of the synths is unlike any other except IQ; the evolution is as symphonic as it is intimate and launches juicy guitar solos; it goes away it comes back it goes away to distant spaces where the musical sap flows freely; it is especially better over time, a sign of unmistakable quality.

SALVA makes neo heavy symphonic prog different from current sounds, a positive point. SALVA offers long titles with adventurous developments and damn chiseled breaks to offer a rich air entangled with various reminiscences. SALVA makes integral art music surfing on neo and heavy, offering a singular escape on the cold Scandinavian lands; a very good disc pushing the multi-colored sound in its most ardent buttresses.

SALVA started when S. GAVIK and P. MALMBERG were young: they played handball and found themselves in the same love of hard rock music. Over time, they scoured a lot of stages before becoming the group here in 2003. So, we can say that it is a group that was able to soak up a lot of musical genres! Personally, I have been following them since "Left to burn" in 2007. Note that W. MACKIE (HOGGWASH) and R. REED himself (MAGENTA) have worked to have them recognized.

Question musical genre, I had originally been seduced by the fruity Hispanic prog sound (another personal trademark, but I will not change my annotations!), Then by this symphonic prog style, eclectic prog metal, jazzy rock (very fashionable lately I think in a good way), grandiloquent and inimitable prog rock. The Celtic and Irish atmosphere emerges over certain compositions. We surf on MARILLION, PINK FLOYD, JETHRO TULL, TOTO, YES by certain flights of synths. More WITHIN TEMPTATION, EPICA, OH reviewed lately, BIGELF, ERA in some ways! There are also hard rock bands from the 70's period with big riffs and organ, all that making me think from afar also of RAINBOW, of DEEP PURPLE! It's a lot of reference...but be careful, I'm just giving a representative idea of ​​ their sound because their sound is by definition theirs first and foremost. Because of the singer's very singular, very captivating, almost intoxicating voice and the instruments ideally set up for each title! Also note the title in several parts "Clarity" alternate with longer titles and a little more prog!

Well, we attack with "king of nothing" with a mouth-watering title, well brought intro (beginning of BOF!) then atmospheric energetic with violin and breathtaking guitar. "Clarity I" starts with a DEEP PURPLE sound with organ and well-typed musical extension. "Skyclad" the album's soaring post ballad with a very hard guitar break that gives fat to this title. "Clarity II" or the FM hit (I find it hard to say pop!) that could have taken place not so long ago, it's well played, energetic and a bit like the "Reality dream » of RIVERSIDE it allows to prepare in a fluid way for another musical theme; what happens with "The ghost of fives" and its aquatic entry, that's good, the river title of the album all in delicacy, with Irish-folk sounds then with almost orgasmic rises of guitar solos. Again a calm, calm sound, we can find BLACKMORE's musical research in it. "Clarity III" another playful title à la JETHRO TULL, then à la JONASZ for a blues and jazzy air at the same time. "Under the fear" leaves with a very fat sound, a rather heavy rhythm, a gripping echoing voice, here I find a little of what LIGHT DAMAGE has been doing lately with its style by offering a varied melting pot of the best bands of the 70's. Here I find a JETHRO TULL riff, a PINK FLOYD melody, but I let you discover! Ah if the musical interlude on the piano and phrasing voice a must for me! "Clarity IV" the second ballad of the album with a higher voice, soft choirs, acoustic guitar, piano and Spanish atmosphere with an acoustic guitar solo. "Al dente", country-folk just to attack the last slope of the album with "Brickshort", can surely finally be the centerpiece! Here, no concessions, it starts with Wagnerian organ then it goes up with donf drums (in French bad boy in the text!) and synths to lead to symphonic prog metal à la SALVA! A female voice is even more reminiscent of this group that I will not mention, SALVA has finished conquering me, I just let you listen to yourselves, but GOD it's good!

You will have understood it, I was waiting for it, I listened to it. I had a hard time at the beginning for certain songs, the time to remove all the influences, then you feel the ear let go and interfere even longer in this album. The previous ones were good but this musical fusion of all styles was missing. There it is done almost automatically and we recognize in fact the work done for many years to offer such a masterpiece. Personally, I love these bands who do their musical research and who offer a new genre without repeating themselves, now you will know by listening to them if you think a bit like me.

This is already Salva its studio-album #5, but my first musical experience with this Swedish prog formation. After a few listening sessions I notice that on this new album Salva sounds like a 'Tribute To The History Of Rock, Prog And Pop', what a dazzling variety!

Between prog metal, Gothic rock and melodic rock in King Of Nothing (bombastic choirs, heavy keyboard sound, a propulsive rhythm-section and fiery electric guitar, evoking Within Temptation but also fellow Swedish rockers Europe) and the final track Brickshort (very varied, with an exciting intro delivering a glorious church organ ' and Mellotron choir sound, along Gothic choirs, celestial female vocals and fat synthesizer flights).

Progressive pop with hints from Eighties Manfred Mann's Earth Band in Clarity I (swinging with tasteful keyboards and guitar) and like Alan Parsons Project in Skyclad (dreamy with a howling electric guitar solo and emotional vocals).

AOR in Clarity II (tight beat, rock organ and guitar and sparkling keyboards) and Clarity III (bombastic and dynamic with lush Hammond and powerful guitar, like Eighties Kansas).

Folk rock in the epic The Ghost Of Fives (varied with a wide range of instruments, from a tin-whistle sound to acoustic guitar and piano).

My highlight is the 10 minutes epic composition Under the Fear. First a swinging rhythm featuring fat synthesizer flights, then an up-tempo beat with bombastic Hammond. The music shifts into first dreamy vocals with soaring Mellotron violins and then a mid-tempo in a bombastic climate with heavy Hammond sound and again fat synthesizer flights propulsive drums. Halfway again dreamy with warm vocals and Mellotron violins, emotional vocals and tender piano, including a sparkling synth solo with powerful drum beats. The second part is also loaded with variety: from a swinging accellaration with a bombastic climate and strong vocals to a dreamy atmosphere with voices, wonderful piano runs. And finally a very compelling sound: bombastic keyboards and strong vocals, lush Hammond, fat synthesizer flights, culminating in Prog Heaven with a majestic Mellotron choir sound and moving electric guitar solo with howling runs, like the best Pallas, IQ and Marillion, wow!

In my opinion Salva its newest effort Off The Deep End album suffers from a bit too ambitious approach at some moments, too many ideas and too much variety. And some tracks sound for me too polished, like the AOR inspired songs and the ballad Clarity IV. But in general I conclude that this new Salva effort contains lots of entertaining and tastefully arranged music. With good work on keyboards and guitar, I hope on its next album Salva will focus on compositions like King Of Nothing and especially Under The Fear, I am sure then Salva will showcase more of its potential.

Only two years from their last album, and Swedish quintet Salva are back with their fifth album. I enjoyed 'Sigh of Boreas', So was looking forward to this one, but for some reason this just didn't gel at all. Yes there are some wonderful vocals and harmonies, plenty of Seventies style keyboards and loads of guitar, but there is something about this that just doesn't work. In many ways the whole album feels quite one-dimensional and when I played it for the first time I had real issues getting through to the end, as it felt as if it was almost a combination of 'prog by numbers' and Seventies classic rock with some orchestral and choirs thrown in for good measure.

By the time I had played it three or four times I had got to the point where I was tolerating it, but by now I was just feeling quite bored. The spark just isn't there for me, and I can't explain why. Possibly the song quality isn't what it could be, as there is no doubt the guys can play and sing, but this album was a struggle for me, and given the amount of music I have to listen to, for me this wasn't worth the effort. Possibly I will feel differently if I play it more, but I just don't have the inclination to do so, as there are times on numbers such as 'Brickshort' where it actually feels quite amateurish in the vocal approach.

Rounded up to 3, but more like 2 1/2 to be fair

This 2016 album was the fourth studio release from the Swedish band, who are based around multi-instrumentalist and singer Per Malmberg. It had taken five years since their previous release, and is actually the first time I have come across them even though they released their debut back in 2004. I have seen some reviews where they complain about the vocal style, but I found it quite refreshing and different to the normal gentle style beloved by many. Musically this is all over the place, from the bombastic and over the top prog metal to folk and everything in between. It doesn't sound as if it is a recent album, but is far more reminiscent of the vibrant neo prog scene from the Nineties. They have used IQ as a reference point as much as they have Yes, particularly in the keyboard runs, and I soon found that I was smiling while listening to it.

Any band that starts with a fifteen minute long song is always going to get my attention, especially if it takes a long time for the vocals to start, and I thoroughly enjoyed the melting pot of styles that is going on here. It really is all over the place, yet it somehow it always makes sense. For example, the dual picked acoustic guitars combined with over the top staccato keyboard chords make total sense in the title song, as it does when it segues from that straight into a more reflective and gentle section. The flute is a wonderfully delicate touch, and I admire the restraint in some of these songs as there is the distinct threat of them turning it up and blasting through, yet they are always in control and when they do strike the riffs it is always in the perfect place. Stefan Gavik is a fine guitarist, and to hear him let rip over the top of delicate piano is quite something. I can see I'm going to have to seek out more of their material.

Salva is a band from Sweden with 3 albums in theor pocket since now, Left to burn is the second offer from 2007. Well, I had hard times listning to this release in one spin, I don't know why but something is missing in overall sound. Is a decent album, with some nice instrumental passages, specially some good keyboards, but I don't like the voice at all, is to in front like the drums, and is not pleasent to my ears. The music is a combination of heavy prog passages with some folk touches here and there, not really bad but is not a convinceing offer to me. The best tune is A dying rose , nearly 11 min where the arrangements are more then ok, the rest of the pieces are decent but fail to impress me big time. I don't get it how some listners considered this to be a masterpice. 3 stars, ok but nothing more.

Swedish band Salva are back with their third release and follow up to 2007's "Left to burn". It has, in my humble opinion, been well worth the wait (even if one could wish for a shorter waiting period in between albums in the future).

Salva's music is a rich, adventurous hybrid of symphonic prog, heavy metal, folk and even pop- rock in the Beatles-tradition. This album sees the band taking another big step in their musical development and it is nice to hear that "Thirst" incorporates even more heavy influences than on previous releases. Some of the riffs are really killer.

The album kicks off with one of the album's heaviest riffs in "Exclamation Point". Nice interplay between riffing guitars and mellotron in odd time signatures. Intense and powerful vocals takes over in the verse with heavy staccato playing from the band. Salva's strong harmony vocals are introduced in the b-part/chorus, recalling the vocal-work of old greats such as The Eagles and The Beach Boys but set to a heavy, pushing pulse of intense playing. The song slows down after a couple of minutes in an atmospheric breather with arpeggio guitars and a soaring Moog-lead before taking off again with a melodic guitar lead set to arpeggiated synthesizers which kind of reminds me of Muse. More heavy riffing, a blistering guitar solo and some great vocal passages leads back to the main theme which closes the track. A great album opener!

The second track, "Primoris Iugum" displays the folky side of Salva with superb accordion and mandoline-led themes that takes the listener in to a sparse verse with passionate vocals, acoustic guitar, upright bass and accordion. A heavy riff leads in to a richer part with guitars, hammond organ and harmony vocals. The song then settles down again to an atmospheric background with lovely counterpoint harmony vocals that reminds me a little bit of Gentle Giant. A downright folk passage with accordion, mandoline and tin whistle leads to a quick reprise of the heavy riff before settling in a mysterious almost arabic-sounding guitar theme set to atmospheric synths and interesting rhythm work from bass and drums. This leads in to a coda with acoustic guitars, warm hammond organ and more superb vocal harmonies in a counterpoint fashion. This section recalls Pink Floyd circa Dark Side-era. The track closes with a reprise of the folk theme. Lovely, rich, folky track that is also available as a music video on YouTube.

"Adjustment for all" (Funny paraphrasing on "And justice for all") is, with its 12 minutes, the closest Salva comes to a prog epic on the album. The instrumental themes that fills up the first five minutes range from rich moog-themes to almost funky guitar riffing until it slows down in a presentation of the main theme with mellotron-flutes a'la "Strawberry fields forever" and acoustic guitar. The song goes in to a sparse ballad with nice piano work before erupting in a beautiful, melancholy guitar solo. The song shifts to more force again before halting in an eerie moog-solo over a jazzy setting of rhodes piano, bass and brushed drums. The song then moves over the main themes in order to conlude in a heavy retro-prog theme over-flowing with powerful guitars and mellotrons. This track is superbly adventurous and rich and is one of my personal favourites.

Next we have "Can of worms". It starts with a chilling mellotron-cello which is quickly interupted by a heavy guitar riff. This brings more modern metal bands to mind. The lead vocals on this song are handed over by main singer Per Malmberg to guitarist Stefan Gavik who does a really good job as well. This track is a bit more straight forward with pumping guitar riffs and nice harmony vocals throughout. The chorus introduces some lovely high pitched vocals and the band even introduces some dissonant sounds which further broadens their sonical pallette. After an atmospheric interlude of evocative synthesizers, a blistering guitar solo over a fast paced riff increases the intensity for the closing chorus and ending riff. Really cool song in a heavy metal-vein.

The fifth song, "Frost", is introduced by the bass of Fredrik Lindqvist resting on a bed of atmospheric synthesizers and an ominous grand piano. This song sounds really symphonic with heavy riffing guitars and lush classical strings recalling the sound of gothic metalbands such as Nightwish and Therion. The verse takes the intensity down a notch as a bridge to the softer, almost romantic b-part. After a second verse the riffing takes over again and leads the song in to an amazing synthsolo that continues over several different parts. The song then concludes, first in a beautiful coda with some highly emotional vocals by Per Malmberg set to arpeggiated guitars and atmospheric synthesizers and then in a peculiar melodic ending theme with rhodes piano, guitars and flute. Great song!

"Losing battle" is something we've never heard from Salva before. It's a piano ballad with what seems to be a string quartet. Wonderful vocals from Malmberg with equally wonderful piano playing from Johan Lindqvist. This is the shortest track on the album clocking in at only 3:30 and works perfectly as a beautiful, romantic interlude between the longer, more proggy tracks.

The album closes with the 10-minute track "One week" which starts with an arpeggiated electric guitar theme that builds with the rest of the band joining in as the theme progresses. The music continues with a rhythmic passage with a lovely moog lead until reaching the main guitar riff theme. The song suddenly breaks down in to an atmospheric soundscape that brings electronica and ambient music to mind which leads in to the first verse. Drums and bass join in a slow paced chorus that introduces Salva's trademark harmony vocals. After this the track picks up speed with a funky, almost bluesy feel with great riffing and Hammond organ filled with attitude. The song takes another turn when the tempo halts and goes in to a tight rhythmic theme with drums, bass and moog bass. Over this the soaring lead guitar of Stefan Gavik conjure up the ghosts of Jimi Hendrix and Eric Clapton. Great guitar solo! Via several different themes and passages the song concludes with the main guitar/hammond theme and ends with the lonely tones of a musical box which closes the album (which seems to be a Salva tradition).

This album is simply amazing and Salva's greatest achievement yet. Can't wait for the next album. My warmest recommendations.

This is SALVA's second album from 2007.These guys are from Sweden and this is a concept album that deals with rage, frustrations and fears. Some heavy lyrics here actually.Weird cover art. I'm not really a fan of the vocals and they sound like they're double tracked a lot.

"No Greater Wrath" opens with atmosphere as faint spoken words can be heard. It kicks in around a minute.The drums sound too upfront here. Catchy song though as the vocals come in before 2 minutes. Nice guitar solo after 6 minutes and we get accordion and mandolin late. "Ord Ver.2" is more laid back with a beat and vocals. Swedish vocals on this track only. A synth solo after 2 minutes when the vocals stop followed by a guitar solo then the vocals return. "Dying Rose" opens with accordion and a sample of children playing.The music kicks in quickly and vocals arrive before a minute. Heavy guitar and piano come and go. A change before 7 1/2 minutes as atmosphere and faint vocals can be heard then it kicks back in with aggression.

"Clara Leaving" is a catchy tune with vocals. A pretty good song actually. "Aska" is an instrumental that opens with strummed guitar as sampled mellotron comes in. Piano and bass join in as well. It turns heavy then the mellotron returns after 5 minutes.The guitar starts to solo then it settles down a minute later.Good song. A top three. "Stained" is my favourite. It opens with the word "Unforgivable" then a nice heavy sound eventually kicks in.This is good. Mellotron 7 1/2 minutes in then it calms down with spoken vocals. Some ripping guitar 4 1/2 minutes in. "Underneath" is the other top three. It settles down quickly with flute-like and a beat. Reserved vocals join in. It's fuller after 2 1/2 minutes when the vocals stop. Vocals are back as it settles and these contrasts continue. Accordion later.

The last three songs really save this from being 2 stars in my opinion. Just not a fan at all of the first half of this album.

If this is not an art rock band,then which is?SALVA come from Sweden and were formed by three friends in 2003.At the end of 04' their hard work finally was ended up in their debut ''A handful of earth''.

If you expect full-blown complex progressive rock from SALVA,look somewhere else.SALVA insist on playing a rather groovy-styled short-track-oriented rock form with accesible musicianship and lots of rhythmic parts.Were is the progressive rock style then?Firstly it's the heavy use of analog keyboards and the quite limited digital ones.Secondly their guitar melodies have an intense Scandinavian feeling and they also use instruments like cellos,flutes and harmonica in some parts .Then comes the mass of distorted vocal lines,while actually hints of legends like KING CRIMSON are obvious in the guitar work.Do this elements make them a prog rock band?....I really do not know...The thing I do know is that the album gets somewhat boring along the way,all melodies and grooves sound soooo similar,that is quite annoying at some point...Accesible rock in progressive forms?Progressive rock in accesible forms?The future of prog sound?...I would prefer another direction for progressive rock music...