12:5

Pain Of Salvation | Format: Audio CD

Product Details

• Audio CD (September 13, 2004)
• Number of Discs: 1
• Label: Inside Out U.S.
• ASIN: B00018CYF0
• Also Available in: MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (19 customer reviews)
• Amazon Best Sellers Rank: #211,891 in Music (See Top 100 in Music)

Editorial Reviews

The progressive metal act's 2004 album features three tracks, 'Book I - Genesis', 'Book II - Genesister', & 'Book III - Genesinister', offering 60 minutes of outstanding acoustic music. Slipcase. Inside Out. 2004.

Customer Reviews

Most Helpful Customer Reviews

21 of 21 people found the following review helpful:

5.0 out of 5 stars acoustic Pain of Salvation...pure enchantment!, March 13, 2004

By 

Lord Chimp (Monkey World) - See all my reviews

This review is from: 12:5 (Audio CD)

I didn't really think this album was too big a deal until I actually heard it. As it turns out, Pain of Salvation's music lends itself very well to this style of arrangement, but the band takes things farther than merely stripping the music down. Acoustic guitars and keyboards (grand piano and harpsichord) are the primary tools here, so that in itself is a change. But Gildenlow has rearranged the music dramatically in most cases, making for a funky-fresh new spin on old songs.

A lot of people probably look at tracklisting and think "wtf" so I will explain it. The album is divided into three "books":

Genesis - A medley of "Leaving Entropia", "This Heart of Mine", "Song for the Innocent", and the chanting from the end of "Her Voices".

Genesister - Full songs this time, includes "Winning a War", "Reconciliation", "Dryad of the Woods", "Oblivion Ocean", "Undertow" and "Chain Sling".

Genesinister - Back to a big medley of the intro to "Idioglossia", the middle instrumental section of "Her Voices", then the complete "Second Love", "Ashes", and finally a joyous, kinetic instrumental jam.

Sonically and performance-wise, the album is beautiful. Daniel Gildenlow's vocals are incredibly powerful, and the band's vocal harmonies are by far the best in metal. One of the most interesting aspects of the album is how songs retain their original mood despite the altered arrangements, like the ghostly rendition of "Undertow" or the full-band format of "Leaving Entropia". "Oblivion Ocean", rearranged with harpsichord, creates a different atmosphere entirely. Unplugged "Chain Sling" abandons its heaviness but maintains its aggrieved power. "Song of the Innocent" is funkified and still gorgoeus. Entirely different, tho', is "Ashes", which is turned from a dark, harrowing song about two broken souls coming together into a major-key ballad and the effect is very weird. Hearing the bleak metaphorical lines like "Licking the layers of soot from your skin" rendered all happy-like is almost _more_ unsettling. It's almost funny actually (especially with Gildenlow's campy Patton-esque histrionics at the end). Other songs are modified only slightly ("Second Love", with piano solo rather than guitar solo; "This Heart of Mine" cuts the middle section, adds more vocal harmonies, and extends the second verse), or not at all ("Dryad of the Woods").

A few complaints: "This Heart of Mine" is missing its crucial middle section, which is the anchor of the whole song. _One Hour by the Concrete Lake_ is not represented, unfortunately. A more general remark: while the music is beautiful and exceptionally well-performed, the format divorces the songs from their original context which diminishes their power. Pain of Salvation's songs are parts of bigger stories which have an important dramatic curve. Then again, perhaps it is a mistake on my part as a listener to look at the music from that perspective. The music in and of itself is gorgeous and is beautifully enjoyable independent of any reference to the original albums.

But meh. My nitpicking is irrelevant and this is an outstanding release. While this album does nothing to further strengthen their position as one of progressive metal's leading bands, it does reinforce my awareness of their obscene talent and the tremendous beauty they are capable of. And if for whatever reason you're NOT a Pain of Salvation fan and you're looking at these reviews, I encourage you to check it out.

10 of 10 people found the following review helpful:

5.0 out of 5 stars Pain Of Salvation does it again..., February 24, 2004

By 

JAMES (TX, USA) - See all my reviews

This review is from: 12:5 (Audio CD)

Perfects perfection that is.

For the purposes of this album review, please keep in mind that Daniel Gildenlöw is a better singer than God starting here. If I fail to mention that his singing is Divine in any section, take it as a given. Flawless performance. Vocal harmonies are angelic beginning here and not ending until the album ends.

The tracks are labeled differently on the cd listing, but I am posting the actual song titles as they are on PoS' studio albums.

Book I: Genesis or Brickwork Pt. 1 - A Medley of:

1. Leaving Entropia - Excellent reworking of this song. The guitar/piano interplay is lovely in this. A better version than the original.

2. This Heart Of Mine - The intro alone had me in near tears. Then the Gildenlöw (still God) falsetto and others harmonizing could make a rock cry. The song that I didn't think could be any more beautiful is.

3. Song For The Innocent - An album highlight. Gildenlöw shows no signs of mortality. The whole piece isn't performed, but what they do with this song is something very special, different, and altogether better than it was on The Perfect Element Pt 1.

4. Her Voices - The end section: very Gregorian Chant-like. An excellent rendition.

5. Instrumental/Vocal Improv - A forty second jamming segue.

Book II: Genesister - Entire Songs:

6. Winning A War - Mideastern instrumental intro and flourishes throughout. Gildenlöw (still upping God) sings this song as if he lived it and wants you to feel his pain. Great use of the clavier in the bridge. Another HUGE album highlight.

7. Reconciliation - This one was a shocker. I didn't think it would go over well acoustically, but you know what? They got all the dynamics in the song, and I was totally wrong. The second best pleasant surprise of the album. Hilarious little "Darth Vader Theme" bit in the middle to lighten the tone of the song. Apparently, they are Star Wars fans. Gildenlöw doesn't hit the extreme high note at the end. I'm certain he can do it easily, but it's an acoustic version. Imagining it there, it does seem out of place. Very nice rendition.

8. Dryad of the Woods - Not changed drastically from the studio version (it's an acoustic song to begin with; what are you going to change?) but for the use of a clavier which is gorgeous again although mixed a little higher than I would have. The coolest additions are the piano flourishes at the end.

9. Oblivion Ocean - Bass and clavier do the spooky intro. Gilden-God is back from the instrumental break. He hams it up a little in this song. Even for Gildenlöw, it's melodramatic, but it does the emotional lyrics justice. The "The gods are close at hand...oh God if you save them..." section is exquisite.

10. Undertow - Guitar plays a new ostinato part and piano takes the intro we all know over it. The ostinato is great for a song that builds like this one does. Excellent addition. Mandolin accompanies the piano playing the "This Heart Of Mine" reprise, vocal harmonies grow out of this, Gildenlöw goes from harmonizing to screaming to falsetto. This part never grows stale. Chills every time I hear it.

11. Chain Sling - Another band member takes some of the leads on this. He's not as good as Gildenlöw, but he's easily up to the task. The cool thing is that this frees Daniel up to do some high note flourishes over the choruses.

Book III: Genesinister or Brickwork Pt. 2 - A medley of:

12. Idioglossia - Instrumental intro. THE highlight of the album for me. This is my official "Holy $hit Moment" of the album. I didn't think it would go over acoustically with the right-hand tapping runs at the beginning and heavy rhythms. Just listen to it and say "Holy $hit."

13. Her Voices - Instrumental section. One of the many great musical climaxes on TPE1 needs no exposition.

14. Second Love - The full song from Remedy Lane minus the M.A.S.H. theme intro but with with piano, mandolin, guitar. Gorgeous version with some excellent piano work in place of the guitar solo (which was one of DG's best IMO) toward the end. I loved the solo, but the piano works better for this format I'm sure.

15. Ashes - Full song. Minor key intro, but changes to major key for the rest of the song. Depending on how seriously you take music, this will either make you laugh your ass off or completely turn you off. It's damn hilarious to me, and one of the most truly Pattonesque moments I've heard from PoS. DG really gets that Mike Patton feel and humor in this. A highlight for me, but possibly a total clunker for someone else.

16. Instrumental/vocal Improv Jam - Jammin' out to end the set; great instrumental work here.

Finally:

A MUST HAVE for PoS fans. Those who were turned off by the band's production quality and guitar sounds on the studio albums (which are often lacking), will love this. If you don't like Daniel Gildenlöw's emotionally charged, dramatic, at times ham-it-up style, and PoS' vocal harmony self-indulgence, avoid like the plague. Everything, however, is executed perfectly...as one would expect from Daniel Gildenlöw and Company. An 11 out of 10 live performance. Right up there with Alice In Chains' Jar Of Flies as best unplugged album ever. I'd give it all the stars in the sky if I could.

7 of 8 people found the following review helpful:

4.0 out of 5 stars 4.5 Stars. Wonderful Account of Craftsmanship, March 6, 2004

By 

Adam J. Whittemore "The Critic" (Arbutus, MD) - See all my reviews
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This review is from: 12:5 (Audio CD)

The thought of a Progressive Metal band doing a completely unplugged album would make most people cringe. But if you were like me, you realized this band has the talent to do anything. Their musical palette is already wide, but this just puts them over the top.

The album opens up with an interesting choice: the conclusion of their "Entropia" album. To start this album with the ending of another shows that they aren't scared to change around and add upon already recorded music. Not only does it open up the album, but sets the musical tone for the whole recording. With its combination of complicated song structure and huge amount of vocal harmonies, its sound is varied yet focused throughout the album.

Knowing that it was recorded live gives you a huge appreciation for the vocal harmonies that "Leaving Entropia" starts off with and is prevelent throughout the whole thing. They are extremely impressive, holding a certain Eagles meets Gentle Giant quality. Though they aren't perfect knowing that they were achieved live with little editing leads you to believe they are highly trained, very practiced musicians. The only problem with the harmonies is that they are so plentiful that it might seem overpowering. For those who love Daniel's voice (as I am one of you), you might feel it isn't shown enough. If you were uneducated in the PoS sound you would think that they are showing off how well they play together.

Flaunting their talent to sound like the most accomplished band in the world is something that is not unheard of with them, but they seem to always do it with an heir of craftsmanship. Daniel's unsurpassed songwriting talents are shown once again. With the additions of harpsicords and cellos, the sound has never been fuller. Granted they are playing previously recorded material only strikes you the first or second listen. Soon after you realize that the album brings so many new elements to their sound that this mine as well be new material. Even though the grand piano and harpiscord are the only instruments played by Frederik Hermansson, it just seems like the songs were built for that sound. The keyboard he has proven to master almost seems obsolete after hearing his mastering of a re-worked version of "Dryad of the Woods". To the longtime fan, you will love the harpsicord sound because it seems to fit into the environment and mood that PoS is so great at conveying. That mood has never been fuller, expecially with the acoustic version of the intro to "Idioglossia". The acoustic bass Kristoffer Gildenlow masters in the song couldn't sound fuller. At one point the strings are flapping against the neck so hard it sounds like the instrument is cracking. All of this adds so much to the already full sound conveyed.

The little things make this album one of the best acoustic performances I've ever heard. The acoustic soloing is EXTREMELY impressive, though they are scarce. The singing is top notch, yet it overpowers the acoustic music that is so beautiful. That is the only problem I see with this album other than it not having new material. But like I said, the versions are so new and innovative that they don't even seem like previous pieces. This is a nearly flawless album that is proof that there is a whole lot more that Pain of Salvation has to offer. Giving their work more time and patience will only bring you delight and satisfaction.