Customer Reviews

Be

5 star:		(31)
4 star:		(10)
3 star:		(5)
2 star:		(11)
1 star:		(2)

 

 

Ok, I was planning to wait on reviewing this album for a while, until I'd come closer to unlocking all the secrets and such, but I really can't wait any longer. This was by far my most anticipated album of recent times, and now that I've gotten it and spun it several times, I gotta say something. And that something is wow.

How do they do it? How DO they do it??? For those of you have been keeping up with my reviews, you might know that I initially was not bowled over by Pain of Salvation's music, but time, as it often does, has allowed me to see the error of my ways, and they have since become one of my favorite bands. Everything they have put out has been of extremely high quality, and "BE" is no exception. Somehow they manage to keep their music fresh, while still being consistently amazing. This kind of talent is really something special.

So anyway, "BE". Geez, where do I even start? Like all of PoS's albums, this is a concept album, but this is something different from anything they've done before. Basically, it is a concept about the origin of God, and how he created man to try to get a better understanding of his own existence. Man, in turn, creates an artificial god of their own, to try to better understand their existence, and....well, I don't want to give too much away. If this sounds like a really cheesy concept, I can assure you it only appears to be such at face value. This is a very deep and profound story, one that I am still working on figuring out completely. (For those interested, a full list of sources Gildenlow used to research for this album can be found on the band's website).

And, the music. The music is just fantastic. Stylistically, it is similar to "Remedy Lane", using a myriad of different musical styles, and bringing them all together tastefully and seamlessly. However, this is no rehash of that album by any means. They use a lot of different styles and sonic textures here that are vastly different from anything the band has done before. We saw them flirting with folk elements a bit on past albums, but here, they delve into the style even more with "Imago" and "Nauticus II". "Nauticus (Drifting)" is a mostly a cappella piece, with a very spiritual/gospel feel. The vocal harmonies on this one are stunning (if you're familiar with the Blind Boys of Alabama, it's kinda like that). The band also flirts with classical elements frequently throughout the album, including a string section, and some flute here and there. While classical elements in rock can often sound rather cheesy and cartoonish, PoS does an amazing job with it here. Fredrik shines like never before, contributing some beautiful classical piano work (particularly on the instrumental "Pluvius Aestivus"), and the strings are very subtle and tasteful. This has really gotten me excited to hear what they're going to do with a full orchestra on "The Perfect Element Part 2".

There is so much greatness to be found on this album. "Lilium Cruentus" and "Diffidentia" are sort of rap-tinged progressive metal, with a great mix of heaviness and melody, "Nihil Morari" is a dark, Tool-like piece, with brutal riffage and some downright scary time changes. "Dea Pecuniae" is probably the biggest departure from the band's sound yet. This is a full-on epic piece, with a soaring, Broadway-ish delivery, and a sort of Pink Floyd type rhythm. Those who think PoS is sometimes too dramatic or depressing should really hear this, as it is the most fun and uplifting thing the band has ever done (and Gildenlow's skit at the beginning is hilarious). "Vocarei Dei" is a gentle instrumental piece, with spoken soundclips, which are real prayers submitted by fans of the band. For a song without actual lyrics, this is an extremely touching piece.

And, the highlight of the album comes with "Iter Impius", an absolutely stunning ballad. It's a very simple and sparsely-arranged piece, consisting mostly of piano, but it's got a powerful and incredibly HUGE sound, with some bone-chilling melodies. This is one of Gildenlow's most powerful vocal performances to date, and that's saying a lot. And to top it all off, the guitar solo is magnificent. Just an overwhelmingly beautiful song. You really just have to hear it to believe it.

Ok, this review is starting to get really long, so I'd better wrap it up. This album is an absolute masterpiece. Hands down the best album of this year, and one of the best albums to come out in a while. It may take a few (or even a lot of) spins to really sink in, but this is a magnificent work of art that is fully worth your time. Buy it now.

_Be_ kind of makes me think of Yes' _Tales from Topographic Oceans_. Either is likely to be considered a masterpiece by some and self-indulgent garbage by others. Both albums are bigger and longer and more ambitious than previous releases by their respective bands, coming after what many would regard as their best work. But in relative terms, _Tales from Topographic Oceans_ is a better album than _Be_, for the latter is saddled by some overwrought musical passages and a self-conscious concept which derails its emotional connection, whereas the former is pretty exciting throughout.

_Be_ is an album about the nature of God and man's place in the universe and with nature. I am personally not overly interested in the Daniel Gildenlow's concept. It is mostly pedestrian metaphysical observations, glorification of the primitive, and anti-capitalist cheapshots. On a basis of music alone, _Be_ is a more schizophrenic album -- both great and surprisingly dull. Pain of Salvation is augmented by the mini-orchestra consisting of strings and winds. All the usual elements of Gildenlow's writing are present: inventive metal riffs, unforgettable melodies, ingenious use of counterpoint, off-the-wall meters, dramatic vocals, and audacious eclecticism, and this album is probably the band's most musically diverse.

The beginning and end of _Be_ are imaginative and electrifying, but the middle section is plodding and excessive. For this reason, the end of the album is worsened because it lacks really excellent prior development. I don't want to say the album is too long, because it doesn't feel too long. By the time "Iter Impius" and "Martius/Naucticus II" roll around, it feels like the right duration has elapsed. It's just that the middle is so tedious you kind of wind down. That's never happened with a Pain of Salvation album before.

After a series metaphysical musings, "God" creates man in his own image to better understand Himself. "Deus Nova" initiates things with a chambery descending scale motif. This gives way to exhilarating odd-metered chugging riff, alternating each measure between, crossed over by sighing strings and spliced up by dueling synths and electric guitar as Gildenlow reads off historical population data. "Imago" makes me think of Jethro Tull, with colorful instrumentation evoking a celtic folk-dance, arranged for acoustic guitar, violin, and tuned percussion, and some vocals from Gildenlow that sound kind of like a didgeridoo. Various low vocal noises grumble about, like primitive druids talking to trees, and a catchy chorus sings of fascination with nature. "Pluvius Aeternus" is a very pretty albeit long piece for piano and strings, the beginning of which dubiously recalls X-files. Think of rain... "Lilum Cruentus" is the last song before a lengthy downhill slide, but it's a good one. Heavy, pleading, and full of the dynamics that have hooked Pain of Salvation fans.

That middle. It starts with "Nauticus", a simple southern gospel-blues thing. I didn't think it was possible to get bored with a four minute Pain of Salvation song. Then comes "Dea Pecuniae", which is definitely the worst Pain of Salvation song to date. Unbearably cheesy and long, this faux-Broadway piece is probably the most trite the band has ever sounded, and it is preceded by a really tacky skit where some dude tries to talk some girl with a beastly voice into fellating him. Despite the guilt of disrupting the concept, I almost always skip this track. Then we have "Dei Vocari", which has samples of people talking to "god's answering machine" with lite widdly music major key music in the background. It's actually pretty affecting, but too long. "Diffidentia" trudges through obligatory tempo shifts without excitement and its heavy main riff is taken through little harmonic or rhythmic variation.

The final song sequence, which I would arbitrarily begin at "Nihil Morari" to the end, is Pain of Salvation at their best. "Nihil Morari" returns with the riff from "Deus Nova", articulating mankind's advancement concurrent with a lot of damage to the public domain like oceans, skies, and unowned forests. Samples of news broadcasts tell of environmental despoliation and nature's wrath, and man against man conflict as well. "Iter Impius" is the final emotional crisis, swelling violently with epic power-balladry. The third stanza is especially moving, as Gildenlow sings with a lovely violin accompaniment. Swishing flangerized chords smash against the powerful chorus with a sort of King of Nothing theme, "I will stay here on my own, on this bloodstained throne." "Marius/Nauticus II" begins with crying strings, bells, and the vocal melody as an amazing cadence to it. An atonal piano cacophony breaks the feeling of transcendence, and it is joined by grinding, percussive guitar and reeds, and transforms slowly into the theme of "Imago", with polyphonic vocals singing of oneness with nature. The end of the song is a huge, all-out percussion jam on big toms and steel barrels.

I am sure I sound very critical. But that is only because this band is truly one of the best and they have set the standards so high with their previous work. I truly hate to compare, but the clarity and power of their first releases has been displaced by more thoughtful and more programmic music. The level of craftsmanship is high as always, but the same fire that inspired the band's earlier albums is not present on _Be_.

BE is the PoS album that had to really grow on me before I could truly appreciate its complexity and its stark, uncompromising beauty. It's harsh and even chilling, depicting a world at war with itself - humanity, nature, even god. It is also about God, creating himself, humanity creating him, and humanity demanding some answers from HIM as to why things are. It's all over the board thematically and yet the threads that bind each song are subtle.

This isn't the album that you go cruising down the road in a convertable to, but rather sitting alone in a candlelit room with headphones and a lot of time to digest the various and sundry layers that comprise this masterwork.

Daniel Gildenlow is a genius and one has to be intelligent enough and a seeker enough to follow him through this journey of the mind. The musicianship is superlative, lush in some areas, spare and uncompromising in others. My personal favourite songs are Dea Pecunae, which if you really listen, depicts a desparate coupling between sex and money (that part left me with two minds, both aroused and uncomfortable at the same time). I also loved Iter Impius (I do hope I spelled that correctly), a song that grabs you softly at the piano-nuanced beginning then goes for the jugualr by the climatic end with Gildenlow's tortured-soul growls.

BE is a disturbing album and for days afterward left me in shivers, yet I could not (and still cannot) resist being drawn into its intricate web of melody and concept. I have yet to see the Live-DVD version of the album, and unfortunately due to Daniel Gildenlow's refusal to be fingerprinted like a common criminal before being issued a passport (a stand that as much as I would love to see this incredible band live, I wholeheartedly agree with), they may never play here in the U.S. Still, PoS can only be proud of yet another album that takes prog farther than anyone had ever dared dream. Some folks who've reviewed it hate it, but I really and truly hope they'll give it another listen.

I consider myself lucky enough to have found Pain Of Salvation fairly early on and, as such, I have been following their progression (and I mean that in the true sense of the word) from their very first album. This is a band that will not stand still. Their albums just keep getting deeper and more complex - both musically and emotionally. So on to the album...

Those of you who know this band have gotten use to expecting the unexpected. In fact, that is part of their charm. And, with this album, they will surprise even the most progressive of fans. Of course, this is another concept album - this time focusing around the origins of God and Man. But if you're expecting to hear your typical serving of heavy progressive rock - think again. This time around, Pain Of Salvation treats us to one of the most diverse works of musical art that has ever come out of this genre. The styles on this album range from spirtual to funk to soundtrack to rock to folk to classical to medieval to musical theatre and back again. The range of this band is really showcased here and every song is a treat to the ears. Again, I warn the listener - this is not a typical progressive rock album. If I were to give it a genre, I would probably classify it as a rock soundtrack. Maybe more along the lines of Ayreon than Dream Theater, if that helps anyone. But, for those of you who like a bit of diversity and a whole lot of orchestration (while still somehow maintaining a touch of the classic Pain Of Salvation sound) this album will NOT disappoint.

So, are there any complaints? Well, only a few. The first has to do with Track 4, Pluvius Aestivus. The beginning sounds exactly like the Theme from the X-Files (I told you it was a soundtrack album!) Don't get me wrong - the rest of the song is great. But the very beginning sounds lifted (although I'm sure it's not intentional) - and I'm not crazy about that.

My second complaint (and a much stronger one) has to do with the layout of the album. There are skits or short introductions before most of the songs, and some of them contain spoken sections. But the CD was mastered in such a way that the skits/introductions start as negative countdowns to the tracks which they precede. For example, the song for Track 7 will start at 0:00, whereas the skit might start around -1:12. So if you want to play the skit, you have to rewind from the beginning of the track or fast forward from the track before it. It just makes navigation difficult. And, of course, they hide a little skit about 3 minutes after the last track (an all too often used trick). I just have a pet peeve against funky CD layouts. I think the bands forget the main purpose of tracks - which is to make it easy for the listener to navigate the CD. I just wish these creatively annoying layouts would go away...

My last and final complaint is that the acting on the spoken skits and spoken sections (with the exception of Vocarei Dei) are all very poorly performed. This is especially apparent in the famous "car" skit that appears before Track 7. The woman is absoutely terrible - and she also seems to be the same person that does the voice of one of the newscasters later on the album. In my mind, all of this makes me take the album a little less seriously than it probably should be taken. If you're going to make a dramatic album, you had better get the acting right - and I just don't feel they did on this one.

But the good news is that none of these downsides detract from the album's greatness in any way whatsoever. Pain of Salvation was always in my Top 5. But, with this album, they're definitely in my Top 2. And that's really saying something....

If Gildenlow and company had met the goals this album sets--musical and thematic--, I would probably rate this album as the most profound piece of music ever written and recorded. Regrettably, the goals set are virtually unattainable.

"Be" is extremely spiritual with strong religious references. As with all Pain of Salvation albums, Daniel Gildenlow has painted a concept album with thoughtful implications and Gildenlow's usual masterful musical stroke we all adore. The album's overall context is of that of a great "Overmind" that simply states "I am." This overmind then states a Vedantan-Hindu philosophy of the eternal causation of existence, and how all existence is just a constant expression of its constant "I Amness." The album sets the evolution of humanity into this cycle of being and becoming, attempting to lead the listener into a sort of non-dual awareness of how everything is One, and Good; how even in the apocalypse, Everything is how it should be. Like I said, Gildenlow had quite a lofty agenda... Not only is he setting out for a philosophical goal that no one except perhaps Plato, Plotinus, Kant, Hegel, and Wilber have appropriately explained (all of them in no less than 2,000 pages each), he's attempting to express the philosophical tenets musically. At least make it a double album!

The lofty goals reveal a hint of arrogance. The album's problem is that it tries to over-explain itself rather than artistically leave holes that beg the listener to discover its truth and purpose. The only album I am aware of that shares the theme of "Be" is Tool's "Lateralus" (my favorite album of all time). Although Lateralus focuses on somewhat of a smaller scope; it is more successful in its goal as Maynard brilliantly manipulates the ambiguity of spiritual awareness in his music. Gildenlow simply tries to do too much in too little of a space.

Regardless, Gildenlow sets out to do it. Because of the abridgement of such grand ideas, the lyrical evolution oscillates between brilliant and convoluted. Gildenlow switches between a first person perspective (microcosmic), and third person (macrocosmic) evolutionary perspectives. I find that in some of the first person segments he tends to meander away from the evolution of consciousness and focus on tangential phenomena such as greed, nostalgia, and prayer.

My only issue musically is the dubbing. I personally have always found dubs to be irritating on repeated listens if used anything short of brilliantly (i.e., Pink Floyd's "Dark Side of the Moon"), and although they are utilized much more effectively than a lot of prog bands (some irritating Dream Theater tracks come to mind), they do fall short. The dubs of newscasts and prayers become tedious on repeated listens and hinder the flow of the music at times. They are useful to carry on the theme of the album, but sacrifice the overall musical product for its sake.

Every Pain of Salvation album, I am afraid to ask if Gildenlow's writing can get any better, and it ALWAYS does. Musically, Pain of Salvation has become even more genre-bending and redefining than ever before. It is all still prog-metal, but Gildenlow is THE BEST at taking a base of rock and molding incredible soundscapes with stylistic ingredients, past and present. "Dae Pecuniae" is lively like a metal broadway production (perfectly paralleling the personality of the subject), "Imago" shows greater celtic influence than even "Chain Sling" from Remedy Lane, and "Nauticus" is a fascinating amalgam of old Mississippi blues with a modern sensibility. All styles appropriately fit the level of consciousness the song's subject encompasses; truly remarkable!

Such a complex album truly merits a complex review; I feel like I am giving out mixed signals. But, the shortcomings are only so apparent because the standards the band held themselves to were set so incredibly high. It seems Gildenlow's amazing ambition finally caught up to his talent.

Despite the mere shortcomings: the over-use of dubs, and convoluted flow of the theme, the album is simply mesmerizing. The writing and music are still nothing short of brilliant. This band started out brilliant and has been out-doing itself for 5 albums in a row; it is about time they don't out-do themselves! We can all be thankful they haven't run into the inevitable crash-and-burn that becomes the fate of most prog bands.

As painful as it is, I must give it 4 stars. Yet, it might be the best four-star album I've ever listened to.

Wow, thats how I would describe this in one word. Although it takes quite a few indepth listens to really appreciate the music and the story. Just to clarify, in the story a god is born (Anima) he then creates humans (imago) to better understand himself and why he exists. Imago then overtime destroys the earth and before perishing, create a space probe called Nauticus. Nauticus is supposed to be created in the image of man, and is sent out to find the answers to earths problems. Theres much more but you can discover it on your own. Musicaly this album covers alot of different styles and features a small orchestra (11 peice) which really add alot of drama and emotion to the recording. The band has toned down there Dream Theater like technical flair even further then the past albums, yet there are still jaw dropping moments of musicianship, just tastefully aranged. My favourite tracks include Liliim Cruentus for its extremely sad lyrics and parts that harken back to the old Pain of Salvation, Dea Pecuniae for its pink floyd/supertramp sound, Diffidentia for its huge crushing riff, and Nihil Morari for just being insane. Closing advice: If your a fan of real artistic and creative music, buy this, and listen to it, that simple.

OK, I've read such glowing reviews about this cd from every possible source - here at Amazon, at Progarchives.com and other online mags. So, I bought a copy and was overwhelmed by the complexity of this concept album. It took a number of weeks to sort it all out and figure out what I really though of POS. Where they over-wrought prog metallers who worshipped Queensryche? Or, where they musical geniuses from Sweden who were on par with the likes of Dream Theater? Well, it's a little of both.

POS are original to some degree. I know I should find them amazing but everytime I listen to "Be" and other tracks from "One Hour By the Concrete Lake", "The Perfect Element" I'm left feeling cold. It's as if the concept of what their trying to achieve (the most emotional prog metal ever) is good but somehow, they just try too hard and can't really pull it off. I guess that's what it comes down to, Daniel (the creative force) just tries to go to the top of the prog rock Everest, but only has a sherpa that will enable him to go half way up.

Maybe I just haven't listened enough (is 20 times ok?) to "Be" but it just ain't working for me. I recently got into Arena's Contagion and The Visitor so I'd rather listen to those.

Until I heard this album, Pain of Salvation was on my "can do no wrong" list, along with fellow Swedes Evergrey, Dark Tranquillity and Opeth. Now I'm not sure what to think. Be is an intelligent, highly complex and progressive album, and I think it is one of Daniel Gildenlow's most ambitious efforts. But it doesn't rock. Not even a little bit. From a band like Porcupine Tree this might not bother me as much, but no matter how complex and progressive Pain of Salvation has gotten, their albums have always been pretty damned heavy. Be doesn't show a pulse until Lilium Cruentas, which along with Diffidentia are the only tracks on Be that remotely resemble actual songs. Remedy Lane worked far better as a concept album, largely because it was a collection of great songs that held a central theme. Without those great songs, there's just the concept. And that's not why I bought the album.

I've listened to this album several times now. I tried it with headphones. I tried listening to it in the car. Nothing works. I guess I just don't "get" it. I'm glad Pain of Salvation is progressing as a band, and I admire their ambition. I just wish this was an album I could enjoy listening to.

Maybe you guys have passed trhrough a phase where you try to find a music to fit your musical taste, im still in that phase searching for something that makes my soul fly...dont care style, genre...simply serching for that divine music! Any music lover is a hunter of the divine...;) It was amazing how this album reached me, coz it shown me a different perspective of music that i coudnt imagine, it was something that i wasn looking for coz i didnt even know that this kind of music was outhere...Just out of my imagination! This is a feeling overdosed! I get exhausted listening to this guys...its like needing a rest after going trhough to such a extremely passionate landscapes...my heart is about to explode! my skin is about to break! If you wanna have a feeling overdose...you cant go wrong with this.

I never thought I would ever give a PoS album a 3 star rating. I never thought it possible that a band of this calliber could put out an album that deserves 3 stars. I love PoS they are along with Opeth the most innovative, challenging and exciting prog metal/rock band currently putting out music. And therefore they have very high standards, both held by fans and themselves. BE aims high as many here have said and it fails. It does not live up to the talent that a band like this can put out. The main problems as I see them are that the album lacks focus. This may seem odd given that many here seem to think it's more focused and not forces as they claim "The Wall" was. Well The Wall flowed naturally and helped by it being paritially autobiographical of Roger Waters it worked. This album is all over the place and rambles. If this had been cut down by about 10 minutes it would have been a much better album. PoS is the most sucessful when they deal with humanity and human elements. Entropia their debut (which btw ranks amoung the best debuts any band has ever put out) has a high topic of war ect... but it works because it explores the effects on humanity. One Hour By The Concrete Lake on the other hand while having some great music and some memorable songs (Pilgrim always stands out) is preachy, self praising for its "high ideals" and contains some true junk (reading how far underground water travels? I mean come on.) They hit perfection with The Perfect Element and Remedy Lane. Smart intelligent and deep albums but working within the context of humanity which accounts for those albums power. BE on the other hand has a high ideal (though philosphically not a very good idea as the premis is not as deep as people want to make it out to be. Really study any philosphy and views of God. God is the highest imaginable being and by deffinition most worshipable. Here we get a God who doesn't know what he is or why he's here and creates humans to try to figure it out. No offense Daniel but that isn't even a God it's a powerful human and just as weak and frail) but it does not go into humanity enough Mr. Money is the closest it comes and it doesn't do much (not to mention that idiotic beginning and poor acting.) As I said the album is about 10 minutes too long. The opening could use some editing and different actors these people sound brain dead and truly dreadful. Second track has some great music but just a few too many pointless stats on how many people were alive when. Then there is a far too long instrumental. It's beautiful don't get me wrong, but should have been cut in half. Somewhere along the line is the worst song the band has ever put out and one of the worse things I've ever heard. A god-awful blues number. The first few listens to the album I played it under the pretense that I would still digesting the album. Now I have and the song sucks and I can happily skip it. One simply says "what in the name of all the saints in heaven was he THINKING when he wrote this????" As I said the road head bit is idiotic but the song on whole works well. The god's answering machine bit is simply perfect, a much better intro to the album would be to start it off with one of these phone calls and base the entire album around man kinds understanding and trying to find God. That would have made for a 5 star album no question. The last portion of the album is amazing and shows how great this band can truly be. Daniel is probablly the best writer of lyrics active today and he lets his talents show. However there is a dreadful bit of one song which for lack of a better term runs into nu-metal rapping and is quite obnoxious. The album ends with two of the bands best tracks and would end perfectly had it not been for the stupid "I AM" thing at the end. Totally unneccisarry. So I would say on a whole this album is 45% or so really good stuff. The rest is mediocre and best and utter crap at its worst. For a band this talented and what they hinted on in their good material here this is a very dissapointing disk and ranks on par with OHBCL which is quite a degression. A few people have said that none of this sounds like anything they've done before. This is wrong. The first track with real singing (don't have the album next to me to get the name) sounds an awful lot like Chain Sling and some large portions sound remarkably like Indioglasia and other moments for TPE, and these bits sound old. So that's that, I'm looking forward to their next album, which I'm praying they get their act together on and produce the album that all their fans know they can put out. Hopefully they'll finally get TPE II out and it will be the masterpiece they claimed this album was.