Pain Of Salvation
Road Salt Two

The recent history of the band of Daniel "golden voice" Gildenlow and his crew is quite controversial: the first chapter of the project known as "Road Salt" disappointed and bewildered most of the early fans, due to the definitive shelving of those progressive Metal sounds that had so characterized the band's early years (later downplayed by the ambitious "BE" and the experimental "Scarsick") in favor of decidedly more "rock" and citationist alternatives.

The second chapter, as planned, carries forward these guidelines, revealing itself to the listener's ear as a very theatrical and derivative work, devoted to a revival of typically seventies sounds and beyond.

There's a bit of everything in this retro pot that right from the start finds its true source of inspiration in Led Zeppelin III and IV: energetic riffs, intense and emotional ballads... there's even a mandolin ("Healing Now")! All accompanied by curious orchestral interludes of the "Road Salt Theme", seemingly taken from some black-and-white film, a surprising homage to Ennio Morricone's western soundtracks ("To The Shoreline") and of course the typical PoS sound. An alternation of suffering and ecstasy, joy and pain, dark guitars and naturally engaging vocals in perfect Gildenlow style.

At this point, those approaching this work might have a couple of questions (at least from the perspective of a fan of the band like I am): this all seems very interesting, but does it really work? Is it legitimate to miss the good old, spectacular pyrotechnic metal?

The answer from my side might be an ambiguous "yes and no."

Yes, because the revival of Zeppelin-like blues, which should be the strong point of this work for those who appreciate direct and gritty sounds, appears awkward and dirty to the eyes of those disappointed by the new course, far from the refinement of "Remedy Lane" or "The Perfect Element."

Tracks like "Conditioned", "She Softly Cries" or "Eleven" sometimes appear stereotypical in their blues that recurrently spill into a dark and tormented crescendo.

The emotional involvement is, if anything, elevated, thanks mainly to the already mentioned qualities of the incredible voice of Daniel, the true heart of the new course: everything passes through his vocal cords, and each piece is entirely carried by the theatrical frontman, from the already mentioned dirty blues to the angrier outbursts ("The Deeper Cut", "Mortar Grind", and "The Physics of Gridlock"), finally reaching the delicacy of the ballads (the melancholic "1979" and the graceful "Through The Distance"). It's a shame to see, however, how the other members of the band often limit their excellent execution skills to a mere accompaniment for their singer, almost like mere extras in the rather self-centered Gildenlow's work.

At the end of the album, we have orchestral end credits, a sort of instrumental pause that gives us time to reflect on what we've listened to.

In a way, I think the band's courage in attempting to revolutionize their sound is admirable. The difficult cycle of "Road Salt I/II" has sparked controversy, divided critics and fans, and it's likely that the wounds caused by certain choices might not be healed with a return to the old sounds (a move that definitely doesn't belong to the style of our Swedish friends).

Ultimately, an album very difficult to assimilate and requires more than one listen. Just enough time to figure out what the unpredictable PoS will invent for future releases (A loooooong time, in short... ).