Pain Of Salvation
12:5

Beyond the silly argument of which one is better (guess who I'm referring to), Pain Of Salvation are a band that deserves to be praised with eyes closed: in just under nine years they have already released an impressive six studio albums, all of good quality, a live DVD produced in 2005, and finally a very captivating acoustic live. "12:5", the title of the last work mentioned, is the recording of a live performance held on May 12, 2003, in the hometown of these Swedes, Eskilstuna. The tracks, all strictly acoustic and devoid of any electric imprint, cover almost the entire career of Daniel Gildenlow and company, for over an hour of music.

Now you might wonder what’s so special about an acoustic live—after all, many bands have already done it—but this time there is something different from the usual little concert. Here, all the sensitivity and heart of this combo really shine through, presenting itself in a completely new and different guise from which a gentle and delicate soul emerges, something that our artists often tended to keep hidden. Technically, the band once again demonstrates they are equipped with truly excellent performance skills, but what astonishes even more is how the songs, almost all of which possess a particularly negative mood in their original versions, manage to exude light and sunshine from every note, as can be seen in all three chapters into which the album is divided, named:

• Genesis
• Genesister
• Genesinister

The first chapter encompasses "Leaving Entropia", "This Heart Of Mine", and "Song For The Innocent", all three almost unrecognizable as they turn out to be so delicate and light. Gildenlow delights with his voice that shifts from full and rich parts to others that are almost whispered and reflective. Under "Genesister" we find instead "Winning A War", "Reconciliation" (in which Kristoffer enjoys playing with the audience by performing a "jingle" from Star Wars, if I'm not mistaken), "Dryad Of The Woods", which remains largely unchanged given the almost total lack of heavier elements from the original. It continues with "Oblivion Ocean", revisited in an almost jazz version (some parts reminded me of the more rocking sides of our Perigeo), but with a rather dark atmosphere, mainly due to Daniel's low voice. "Undertow" and "Chainsling" close the second "book" with almost medieval atmospheres.

"Book III Genesinister" opens with two short instrumentals, the second of which is taken from the instrumental part of "Her Voices", and then continues with "Brickwork part 2. VIII", which opens the doors to the best song of the evening, namely "Ashes" from "The Perfect Element", which transforms into a piece of infinite sweetness, almost a love song: now I don't want to seem like a madman on the brink of insanity, but indeed, listening to this song made me jump so light and void of all the negative atmosphere present in the original version.

Amid the applause of the audience and a “lengthening” of the ending of "Ashes", thus closes an album that entertains, surprises, and shocks, an album that was truly needed.

As of today, Pain Of Salvation prove to be a completely fulfilling band, with few or almost no weak points, showing they are capable of reaching where the "others" have not yet ventured... how much I love stupid arguments.

Excellent.