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The Perfect Element
Pain Of Salvation
Inside Out Music America, 2000
REVIEW BY: Christopher Thelen
ORIGINALLY PUBLISHED: 02/21/2001
In preparing for my day at ProgPower USA this Saturday, I'vediscovered something about each progressive rock disc I listen to:I have to give an individual disc at least one day before I'maccustomed to it. I don't mean I need a day to like it; rather, Ihave to spend a significant amount of time with each one in orderto discover all the nuances and subplots hidden within.
In the case of Pain Of Salvation and their third album The Perfect Element, I've spent the better part of threedays on this disc - and I still don't feel I've captured everything that DanielGildenlöw and crew have captured in the span of 70-oddminutes.
The first thing that strikes you about this Swedish quintet isthe different musical styles they draw on. Of course, you can hearcomparisons to Dream Theater in their music (I swear, I'm notintentionally looking to compare every prog-rock act I hear toDream Theater), but there's also the occasional nod to... LimpBizkit?
Believe it. In songs like "Used" and "Ashes," you can hear theinfluence of Limp Bizkit in Daniel Gildenlöw's rap-likedelivery or enhanced vocal lines, or in the guitar licks. Die-hardprog-rock fans, relax; these moments don't come that often, andsometimes you can even see how they're used. (I didn't necessarilysay I liked their inclusion, just that I could see where theyfit.)
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