| Pain of Salvation BE (2004) (Inside Out) Enregistré par Daniel Gildenlöw
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Qu’y a-t-il dans la tête de Daniel Gildenlöw ? La question se pose légitimement après chaque sortie d’un album de Pain Of Salvation. Elle se trouve moins résolue que jamais après l’écoute de Be !
Comme de coutume, l’album contient un concept : Dieu, son existence et tous leurs corollaires jusqu’au traffic d'influence divine et la déviance religieuse. Il peut être utile voire recommandable de se munir des paroles pour une meilleure compréhension, sans quoi il y a de fortes chances de finir perdu ! Attention, thème lourd, donc, chargé de messages et de sens cachés : voici venir l’une de ces histoires au sujet desquelles on se perd en conjectures lors de soirées enfumées.
Clairement, cet album n’a rien à voir avec la discographie passée du groupe. Même si chaque album se différenciait distinctement, les éléments metal étaient toujours présents. On compte bien quelques passages énervés tels “Diffidentia“ ou “Nihil Morari“, mais on entend surtout le piano et les orchestrations, omniprésentes, ainsi que le montre “Pluvius Aestivus“ sur lequel Fredrik Hermanssonn fait des merveilles. Cette alternance violence/douceur est beaucoup plus présente, plus marquée qu’auparavant. On passe ainsi d’un morceau typique PoS, “Lilium Cruentus“, complexe, avec des rythmiques inhabituelles, à un titre comme “Nauticus“ composé seulement de chant et de guitare.
Be, remarquable, mélange judicieusement le folk et la musique celtique avec parfois même une flute rappelant fortement Jethro Tull. Impossible de ne pas penser à une pièce de théâtre à l’écoute de “Dea Pecuniae” - sur lequel Gildenlöw s’offre un superbe duo avec les chanteuses Cecilia Ringkvist et Blair Howatt - tant le morceau est pompeux avec sa montée en puissance et une fin apothéotique rappelant les débuts de Queen. On pense au théâtre donc, voire ! Cinéma, comédie musicale… il y a quelque chose à faire avec ce disque.
Originalité : 9 Interet : 9 Production :8 Note globale : 9 |
Be se résumera en un mot : ambitieux. En effet, Daniel Gildenlöw offre ici l’album le plus riche de la discographie de Pain Of Salvation. Cette abondance, tant dans les horizons musicaux employés que dans le concept de l’album, n’est pas pour autant facile d’accès. Une seule écoute dans votre métro ou votre bus s’avèrera insuffisante, voire inadéquate pour l’assimiler. Non, cette œuvre requiert des conditions d’écoute optimales : un salon, une bougie et une écoute attentive, plusieurs fois pour se rendre compte que Be est un trésor d’originalité avec une production limpide, des arrangements vocaux et instrumentaux peu communs. Il est clair que cet album a sa place à côté d’autres œuvres conceptuelles qui ont marqué le genre comme Operation : Mindcrime ou Brave. Vous cherchiez encore le disque de l’année ? Voici un sérieux candidat. Quant à la question “Qu’y a-t-il dans la tête de Daniel Gildenlöw ?“, il paraît toujours plus difficile d’y répondre.
Très important: les paroles de l'album
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Interview de Daniel Gildenlöw
Interview added by Ron on September 29, 2004.
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Reviews of Pain Of Salvation: Be
Since the Pain Of Salvation phoner was scheduled at 10 pm, I was watching the remake of Tarkovsky’s “Solaris”. However, 45 minutes into the movie (9:13 pm to be exact) my phone rang. Since I didn’t expect Daniel to call this early I picked up answering in Dutch.
Yet it turned out that the journalist who was scheduled at 9 pm couldn’t be reached and Daniel asked me if I fill in on this spot. What followed was a conversation which easily exceeded the quest to find the answers to human life in “Solaris” in terms of length, philosophy and intellect…
Hi Daniel, you must feel relieved to finally get this album and its concept out of your system, right?
-Haha, yes in a way. It’s always a struggle to come up with something new and interesting. To find the next level of progression. We sort of, tried to figure that out but I feel I’m really close now.
Aha.
-So, that’s really nice.
How many journalists have told you they were completely overwhelmed by the concept and the music on the new album “BE”?
-Uhm, basically all of them.
Haha.
-I’m doing a lot of interviews. But all of them found a way to grasp the album, and that is more than I dared to hope for because I’m really aware that it’s a difficult and dangerous album in many ways. Both musically and commercially.
We really took a risk doing this album but we really loved it so we had no choice.
Haha.
Okay. When I listen to this new album and compare it to the previous albums it seems like the previous outputs contained more real songs sort to speak, lyrics on those albums also dealt with emotions and feelings which are easier to relate to than to the scientific concept of the new album.
-Ah, well I think that this is probably all to a way of perceiving things. I would refer to songs like for instance “Nauticus” which is one of my favourite songs on the album. And one of my closest friends who listened to the album, he was like, how do you see that as a song. And I was very surprised and was like, what about this thing is not a song? And I guess it all depends on what you expect from Pain Of Salvation. The more you expect, the more surprised you’ll be. And the more surprised you will be, the bigger the risk that you will actually not find what you were looking for in a way. But the best way for this album is trying not to expect anything but just let the music flow through you. And then experience “BE” as something completely unique, such as it is.
Hmmhmm.
The quest for the concept of “BE”.
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(décompresser les 3 fichiers .rar dans le même répertoire)
Reportage sur le concert de Be en Suède (7 min)
Pain of Salvation - Iter Impius (Live DVD Be).avi
Extraits concert à la locomotive (24-04-2005)
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Album live accoustique "12:5 "
Only few current bands cover such a broad spectrum of musical influences as the Swedish cult prog metal rockers Pain of Salvation, who are lead by Daniel Gildenlow, one of the most creative musicians of the Swedish music scene.
Singer and multi-instrumentalist Gildenlow achieved more popularity through his guest appearances with the two super groups of progressive rock, Transatlantic and The Flower Kings.
Pain of Salvation‘s latest stroke of genius is the live recorded acoustic album 12:5 which is conceptually separated into three books (Book I: Genesis, Book II: Genesister, and Book III: Genesinister) and which entirely represents the great musical skills of those five Swedish guys. The otherwise rather metallic sounding band captivates the listener with a vivid sound characterized by acoustic guitar and piano. This sound powerful approaches are mixed with quieter parts that remind of moody bar music.
Already with his first band Reality (1984) Daniel Gildenlöw pursued his idea of an expressive and technically virtuoso progressive metal. Since 1991 the band is called Pain of Salvation. After Gildenlöws younger brother had joined the band on bass, Pain of Salvation released their remarkable debut album Entropia back in 1996, which was much celebrated especially in Asia. In the spring of 1998 they brought out the second work One Hour by the Concrete Lake, which was followed by an extensive European tour with Threshold (british progressive metal). After another pretty successful tour with Arena, the Scandinavians presented their third album The Perfect Element Part I, a concept album which marked the so far musical peak for the group, and whose follow-up album Remedy Lane (2002) was a worthy successor equal in quality. The logical consequence afterwards was a remarkable support tour for the number one group in progressive metal, Dream Theater.
With 12:5, Pain of Salvation now show their acoustic and emotional, but also very intensive side. And they add another highlight to their already impressive œuvre. They should succeed to fill their continually growing number of fans with enthusiasm and to give them many an hour of pleasant feelings.
Extrait de 12:5 - Ashes (192Kbps)
Album partie 1-2
Album partie 2-2
Extrait de 12:5
