Unknown Soldier

Ok I'm saving up Kansas for another day, so we'll go with Pain of Salvation here.

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Metal Wars

Power Metal

Pounding Decibels- A Hard and Heavy History

Trollheart

For us poor people who have to save our pennies...

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Trollheart: Signature-free since April 2018

Unknown Soldier

Just to see if anybody is listening to Remedy Lane. Pain of Salvation are not an easy band to get into.

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Metal Wars

Power Metal

Pounding Decibels- A Hard and Heavy History

Anteater

Remedy Lane is an album I'm intimately familiar with, so I'll be reviewing it for sure in the near future.

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Anteater's 21 Fav Albums Of 2020

Anteater's Daily Tune Roulette

khfreek

I'm interested in taking part in this, so I'll be listening to Remedy Lane shortly

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last.fm

Big Ears

Yes, I'm listening. I know what you mean, but I haven't got a problem with the album.

Electrophonic Tonic

Pain of Salvation

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

Actually, it sorta reminded me of Genesis. I think it was the vocals that did it for me, but I kept thinking that this is what a modern Peter Gabriel-era Genesis record could sound like.

2. What did you think of the opening tracks?

I listened to the youtube link (thanks, Troll!). So I didn't really notice any "songs" rather just one long piece of music. Not just because I couldn't see the song changes, but because it flowed together as one track.

3. What did you think of the later tracks?

See above.

4. Did you like the vocalist? Hate him/her? Any impressions?

I was reminded of Peter Gabriel and Phil Collins several times. I preferred the vocals solo compared to the harmonies. The harmonies just kept reminding me of cheesy power metal.

5. Did the music (only) generally appeal to you, or not?

I really enjoy progressive rock, but it's heavily skewed towards the genre's older artists. In terms of the very limited amount of new prog, this was pretty average for me.

6. Did the album get better or worse as you listened to it (first time)?

I feel like it drags in the middle. I remember expecting to see it at the 40 minute mark and I was only 22 minutes in. I wasn't totally satisfied with the ending, but this is only my first listen.

7. What did you think of the lyrical content?

Being progressive, I found the lyrics pretty avoidable. I focused more on how the voices sounded with the music. In that regard, I think they matched up quite well.

8. Did you like the instrumental parts?

I thought there were interesting things happening. I liked the majestic scale of the music they were trying to make. It had a classic symptoms of ELP songs, where sometimes the band took their foot off the gas to highlight a specific instruments. I've said before that's not my cup of tea as I prefer the King Crimson method of the whole band coming together. Nevertheless, I found the level of musicianship very impressive.

9. What did you think of the production?

I thought the sounds were blended together in a way that bled them together. I'm not familiar with the rest of their work, so I'm not sure if this is the intention or not.

10. How well do you already know the band/artist?

I've only heard of them in passing as one of the better modern progressive rock bands. That's it.

11. What sub-genre, if any, would you assign this music to?

Progressive metal.

12. On repeated listens, did you find you liked the album more, or less?

TBD

13. What would you class as your favourite track, if you have one?

TBD (When I listen to it again, Ill pay attention to the track listing)

14. And the one you liked least?

TBD

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

The only way I could do that is to compare it to the rest of their work, and I don't have the background to do that.

16. Are you now looking forward to hearing other albums by the band/artist?

I wasn't loving this, but I would like to return to it again. There were several moments that I really enjoyed and that peaked my interest in terms of sound and structure.

17. Did you get, thematically, the idea behind the album if there was one?

I didn't know there was one. According to my sources, it's about "the search of man to discover the nature of himself." I'll take that into consideration on my next listen.

18. Did the album end well?

I liked where the album was going once it passed the hour mark. However, the only 5-7 minutes dragged for me.

19. Do you see any way the album could have been improved?

Maybe differentiate between the songs just a little bit, I would have assumed with was a 'Thick as a Brick' situation if I hadn't checked the tracklist afterwards.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

In terms of what it is trying to do, I think it says true to it's style and direction.

Big Ears

Well done, Electrophonic Tonic, I've heard the album a few times and written notes in my little book (while commuting), so I need to get on with this.

Big Ears

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

Attributed to Pain of Salvation are labels like progressive rock and progressive metal (an irritating and unhelpful label at the best of times), so I was interested to see into which camp they fell, but fearing the worst (so-called progressive metal). I found they were reassuringly progressive, with clear Genesis and Faith No More influences in the first two tracks.

2. What did you think of the opening tracks?

Opening track Of Two Beginnings, begins with bubbling instrumentation and vocals in the style of Fish imitating Genesis-era Peter Gabriel. It is a short track, but at the halfway point, transforms itself into a Faith No More-sounding passage. Two Beginnings' position in the tracklist, preceding 3 x four-part 'chapters' makes it seem like an overture. To the Faith No More and Marillion hybrid of the 'overture' are added spoken-word vocals, rather like Mike Portnoy with Dream Theater, for second track Ending Theme (which confusingly is the first part of Chapter I).

3. What did you think of the later tracks?

Track four, A Trace of Blood, has an excellent driving, melodic intro, which settles into an imaginative riff, where Gildenlöw uses his voice to create a percussive sound. A Trace of Blood is complex with heavy guitar and kick-drums, having elements of Dream Theatre and Flower Kings added to the aforementioned bands. The sprightly instrumentation of this track certainly made me sit up and listen. Fifth track, This Heart of Mine (I PLedge), closes Chapter I by taking us back to Fish-era Marillion territory and the superb solos are like Yes's Steve Howe on Relayer (Atlantic 1974).

4. Did you like the vocalist? Hate him/her? Any impressions?

Daniel Gildenlöw is a capable singer, but adds his own dimension in an angst-ridden delivery, which is not encouraging.

5. Did the music (only) generally appeal to you, or not?

No, Gildenlow is a competent singer, although the lyrics do not always work. He also has a devil may care attitude in employng other singers' techniques.

6. Did the album get better or worse as you listened to it (first time)?

It improved and I did warm to the album.

7. What did you think of the lyrical content?

The lyrics can be jarring with phrases like, 'Through roads of agony,' and 'Lost the will to live.' This Heart of Mine (I PLedge) has uncomfortable, melodramatic lyrical motifs, such as, 'I pledge to love you till I die,'

8. Did you like the instrumental parts?

Chapter II finishes with Dryad of the Woods, an incongruous, but scintillating instrumental based around acoustic guitar and synthesizer. This is supremely melodic and the time change towards the end is marvellous. Chapter III opens with another dynamic, albeit short, synthesizer-led track, Remedy Lane. Johan Langell's drums have a big sound, like Nick Mason using drumsticks on bongos. Although the tracks span different 'chapters', this is the strongest and most coherent part of the album.

9. What did you think of the production?

Clear and sharp, but quite complex. The arrangements, however, lack a bit of 'oomph'.

10. How well do you already know the band/artist?

I had heard of them but not heard anything by them.

11. What sub-genre, if any, would you assign this music to?

Progressive metal, although I do not know what constitutes 'progressive metal' and hate sub-genres. Today, I heard of one called 'power folk'!

12. On repeated listens, did you find you liked the album more, or less?

Initially, I found the imagery uninviting and the music turgid, but, with repeated plays, liked it more and better understood the material. I eventually warmed to the album.

13. What would you class as your favourite track, if you have one?

The two instrumentals.

14. And the one you liked least?

Second Love is an unashamedly commercial close-harmony track, which at best could be a Patrick Swayze song, especially during, 'You came like the wind'. At worst it could be something by Nickelback, yet, strangely, the progressive elements are still here, including Genesis vocals, Mike Oldfield instrumentation and a Brian May guitar solo. Second Love represents a stroke of heroism and, in another age, may have given them a hit single.

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

Pain of Salvation albums followed those by Marillion, Faith No more, Dream Theater and Queensryche, so I assume Gildenlow is copying those bands, but I'll be tidying my sock drawer before cross-checking exact dates of albums and live shows.

16. Are you now looking forward to hearing other albums by the band/artist?

Yes, I would listen to another album, but whether I could stay the course is another matter.

17. Did you get, thematically, the idea behind the album if there was one?

No. I gather it is autobiographical, with pertinent locations and dates provided in the booklet. There is also a concept, but the overwhelmingly depressing nature of the material prevented me from delving that far.

18. Did the album end well?

The whole thing is hit and miss, including the ending. If Of Two Beginnings is an overture, Beyond the Pale is a finale. The band throw in everything but the kitchen sink, including all the influences, particularly Mike Patton's distinctive roar.

19. Do you see any way the album could have been improved?

The album is full of ideas and adept musicianship, but they are used seemingly at random. How I would add the 'missing spark' I am not sure. If I represented the record company, I would have fantasy artwork, with no dreary and off-putting photography. If I was the producer, I would send Gildenlow away and tell him to come back when he had written some more upbeat material.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

As above, the album is full of ideas and adept musicianship, but it needs a coherent shape and structure.

Overall Album Rating: 7.5 out of 10.


I have drafted a review for my journal.

TboneFrank

I never heard of this band. I got impatient about 5 minutes in because you mentioned Kansas. Ended up listening to Monolith instead...sorry.

But I do agree...I heard the Peter Gabriel influence right off the bat....and weirdly Brian Ferry.