Review Summary: A celebrated return
''The only way to get out of hell is through it'', claims Winston Churchill obnoxiously. In a timeless, imaginable dialogue, John Milton would remind him - in a sober and empathetic way- ''Long is the way and hard, that out of Hell leads up to light''. We can't but imagine that Daniel Gildenlow, the leading force and last remaining original member of Pain of Salvation, would agree with the latter. Having spent months in hospitals recovering from a flesh-eating bacteria, tasting hell's ash and sulfur, understands that such experiences only lead to modesty. In this case, art too.
In the Passing Light of Day is an exhausting and an exhilarating listen. Clocking at 72 minutes, narrates an orderless story, in the likes of ''Remedy Lane'', with emotional display of similar proportions. The sound is massive, a forceful beast that takes only a few breaths at a time, before being unleashed on us again. For a brief description, my vocabulary is restricted to the words cold, raw, agonizing, with a dim sight of hope. The album may immerse us to the depths of human pain, but gives us a notion that higher highs will follow. The production is clean and natural and doesn't alienate the listener, while the musicianship is expressive and tight. Many - if not all - are bound to find moments to identify with Daniel and the lyrics.
Contrary to the trend of putting small songs as prelude, interlude and postlude, here we find the longest songs in these strategic positions. On a Tuesday is wisely put first, encompassing all the new elements. The ten minute mammoth is packed with time changes, frantic guitars, galloping drumming and bass, that joke with the dynamics and leaves space for the piano to dance. ''Every promise that I make is a promise I might break'' sings Daniel and the outburst that follows only matches the intensity of the line.
Pain of Salvation have always been about contrast, a message carried by their name as well. It seems only natural that all songs are two-faced, the musical equivalent of Jekyll and Hyde, which is now even more present with the additional, softer vocals of Ragnar. Apart from the slow and tender Silent Gold, all the other songs boil with anger and desperation, ready to explode at any minute. That sense of hidden intensity is put across to the listener, keeping the audience at the end of their seat. When a song like Meaningless is considered a ballad, while aggressive attacks such as Reasons, still convey feelings of vulnerability, it is understandable why this album is an extraordinary piece of art.
Last song on the album and the longest they have ever written, is the mournful title track. Revising lyrical themes used throughout the album, the song is the ultimate testimony to Daniel's partner, who remained by his side during his therapy. The soulful and fragile lyrics show that no love - erotic or other - is unaffected by life and death. It is a truly outstanding creation, a magnum opus if you'd like. It keeps gaining momentum, leading to a cathartic climax, closing the album in the best imaginable way.
The apparent virtues of the album overshadow the minimal vices, but not completely. This is definitely not the case of a spotless album, no matter how much we would like it to be. All musicians on here are proficient on their corresponding instruments and that is a given. However, I can't help but wonder why I'm given a sense of stiffness and hesitation. Not counting drummer Leo Margarite, all the other members restrain themselves, stripping the songs of substance and making them feel repetitive. Keyboardist Daniel "D2" Karlsson could benefit the band if he ventured to more daring paths, but he keeps limiting himself to phrases and effects, depriving a much needed warmth. Same goes to bassist Gustaf Hielm, who should feel more confident. Whenever the bass is audible the lines are pretty sweet, though most of the times it's hidden behind the guitars. Pain of Salvation always featured inspired bass lines and is a pity that compositions of such grandeur lacking something as vital for the PoS sound as an energetic bassist.
I do not want to be strict, however, when apparently it takes time for the musicians to feel comfortable in their new positions. Besides, In the Passing Light of Day is the best thing Pain of Salvation could have possibly created at this point. With this release, Daniel wins back the gratitude of many fans who thought that the progressive element would never be an axis of their music again, while on the same time cements Pain of Salvation as one of the best groups of the scene. A much respected legacy is not enough for PoS. When a band strives to create original, fresh and meaningful context, it is definitely a band that demands our respect.
