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25 of 29 people found the following review helpful:
4.0 out of 5 stars
reaches high, almost gets there., November 7, 2004
_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_.
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27 of 32 people found the following review helpful:
5.0 out of 5 stars
Of course I was joking...I would never let you drive my car!, October 21, 2004
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.
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7 of 7 people found the following review helpful:
3.0 out of 5 stars
Complex and Progressive, yet it rocketh not, March 24, 2006
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.
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