Conor Fynes '12:5' - Pain Of Salvation (9/10)

When I was first introduced to Pain of Salvation's first live album, I wasn't sure what to think. This was definately not your average progressive metal live performance. There was something wholly different about the sound, and the delivery. Regardless, I liked what I heard, and continued to listen.

Realizing that this focus on acoustic instruments wasn't just a fluke, but an intended theme for the live album, I was impressed. Even in such a stripped down atmosphere, the band managed to maintain power and energy with their songs. The songs are performed in front of a small crowd, so there's a real sense of warmth and intimacy with the music.

Daniel Gildenlow stated that he didn't want to simply do a 'live album,' he wanted to create something that offered something new to fans instead of a live rehash of studio material. Gildenlow certainly lived up to his promise. There are guitar textures here that were never before seen in studio, and probably would never have worked had they remained electric and heavy.

This is a very irregular live album, it offers something new to the point that it can be considered a true Pain of Salvation album as much as any of the actual studio releases deserve to be. A very rewarding piece of music.

aiylyn The eighth wonder of the world,

Pain of Salvation probably won't go down in history as the most genius progressive rock band to ever grace this earth. That's a shame. 30 years of "progressive" music has existed merely to build up to this band. The initial listen leaves me with just one question clear in my mind: HOW DO THEY DO IT?!?!

I like Devin Townsend as much as the next guy, but Daniel Gildenlow just stomps all competition in the songwriting and the technical ability department. While eschewing the flashy shred licks that many advanced guitarists enjoy, PoS displays a finesse and subtlety not often found in progressive bands; you could listen to this a thousand times and find something new and exciting on the thousand-and-first round. Beautiful packaging, heartfelt, relaxing, and emotionally stimulating acoustic music, with little "quirks" thrown in here and there to keep a sense of levity, all combine to make this an early major success of 2004. I dare anyone not to become hopelessly addicted to the harpsichord on "Dryad of the Woods," or the mindbending juxtaposition of dark lyrics over bright music on "Ashes in Major" or the wonderful new arrangements of "Undertow" and "Oblivion Ocean."

We've all got tracks we would have liked to hear on this (I would have loved Pilgrim or The Perfect Element) but what PoS have done, they have done beyond belief. This album leaves me shaking, knowing that this is an unmatched experience. Once more: How do they do it???