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Prog Magazine Top 100 Prog Albums of All Time Challenge. Album #84, Pain of Salvation, Remedy Lane

 Originally posted to Facebook on October 30. 2023.


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Prog Magazine Top 100 Prog Albums of All Time Challenge. Album #84, Pain of Salvation, Remedy Lane
When sharing your thoughts about this album, use the following scale to indicate how familiar you are with the album:
0- Never heard anything from this album, totally new to my ears.
1- I might have heard a song on occasion, or I know a big hit from the album but not the full album.
2- I've listened to the full album a few times, but it's been a while. Slightly familiar with it.
3- I listen to this album periodically, fairly familiar with it.
4- I have listened to this album many times. I know it inside out. Very familiar with it/expert level
I will post links for anyone who needs them to be able to stream it in the comments below. Remember, no matter what your experience level with the album going in, please listen to the album before commenting. I will post album #83 on Thursday.
Enjoy! (And be nice!)

from comments:

Pt. 1
Here is another album I know absolutely nothing about. The only thing I know about Pain of Salvation is they are a Swedish prog-metal band led by Daniel Gildenlöw. I only hope that the “growling” vocals are not a part of this, or at least not too much. So without further ado, here’s my track-by-track, real-time listening review.
Track 1 - Of Two Beginnings
A steady eighth note rhythm with sustained keyboards brings in soft vocals, until…Bang! Big power chords and strong harmony vocals hit us at around 42 seconds in. Then a big ominous rhythm takes over. Kind of scary-spooky sounding, perfect for the Samhain/Halloween season during which I’m listening to this. The short, but dramatic opener ends with a synth sound that almost reminds me of dial-up internet sounds, but not quite.
Chapter 1:
Track 2 - Ending Theme
Interesting that a track called this is near the beginning…Irony? Or does it have a deeper meaning? Let’s see. A nice full sound at a mid 4-4 tempo kicks this one off. Then everything but a clean arpeggiated guitar riff and vocals. The drums and bass join in, and lead into a keyboard backed vocal. A bit of accent turns us back to another verse. The song is slowly building, with harmony vocals. Then at around 2:15, big vocals and a louder dynamic level suddenly hit us. Some spoken word parts come in after the chorus before a melodic guitar solo. So far I am really pleased with the sound of this band. A chorus follows, then guitar solo mixed with the spoken word part. This leads directly to:
Track 3 - Fandango
Begins with a clean guitar riff, on possibly a 7-string, baritone or down-tuned guitar. The tempo becomes steady and a countermelody joins in…very “Tool” vibes. Staccato vocals in the verse. Longer sustained notes in the chorus. A change to a more moderate tempo temporarily at around 2.5 minutes in. Technically very challenging, but not my favorite song so far. I don’t hate it, just not crazy about it, although I appreciate the skill. This track ends and goes straight to:
Track 4 - A Trace of Blood
A big power chord lets us know that we are in a new song.There is a quick melodic piano pattern behind the guitars. Nice quick tempo. 7-8 time, then a change at about 1 minute in, its more of a 7-4. Then the vocals begin over that groove. The chorus has a brief section of sustained chords, before going back to the 7-4. Gruff vocals, but not a demon-growl. Lots of vocal textures on this one, as a smoother voiced harmony part follows. Then a melodic guitar break, with a quick lick at the end of the short instrumental section Frequent meter changes. This track is more Dream Theater like. An impressively held high note at around the 6:00 mark leads to a guitar solo. This song is much more to my taste than Fandango. Good track!

Pt. 2
Track 5 - This Heart of Mine (I Pledge)
A slower tempo and clean guitars with electric piano. High pitched vocals with harmonies. The rhythm section keeps a subtle groove underneath. At around 1:50 there is a bit of a change with sustained chords, and ride cymbals. The dynamic level increases after that but everything stays clean. Excellent singing here. A melodic guitar solo starts around 3:15. Things ease back off after the solo for a peaceful close to the song. Nothing “metallic” about this track at all. Another good track.
Chapter II
Track 6 - Undertow
There is a pause between tracks here. A low pitched, clean guitar riff starts off chapter 2. The vocals and guitar take the melody together in the opening verses. The song begins gradually building in intensity. Piano and drums join at about 1.5 minutes. Bass follows suit on the second verse. Everything is still clean. There is a more intense guitar solo section, but still clean tones. A bridge with 2-part harmony vocals follow and lead into another verse in a higher register. The intensity continues building throughout. Lots of angst (“Let Me DIE!”). Excellent track!
Track 7 - Rope Ends
Distorted guitars return to start this song with a staccato, morse code kind of riff. Very syncopated against the drums. Excellent drum fills. Vocals join in both low in pitch and in the mix at first, before becoming more prominent. The dynamic level drops briefly before a big shift at around 1:20. Faster, steadier and louder but very syncopated, but syncopated differently than the intro. Then sustained harmonic vocals against a half-time feel. Nice counter melody vocal part near the end of the section before returning to the opening groove. The time changes are head-turning in the best possible way. The sections cycle through again. A quintessentially prog instrumental section begins at around 3:55. Guitar solos join in over the top. Then a more funky groove at around 4:40, As guitar solos continue. Back to the second syncopated groove, followed by the half-time feel to close the song.This is probably my favorite track from the album so far.
Track 8 - Chain Sling
High pitched clean guitar at the beginning, joined by harmony parts and a build-up. Then the full band explodes in (yet it's still a clean guitar sound) with a middle-eastern feel. Very high pitched-vocals singing the melody. Then he drops to a mid register vocal while the band kicks back in. As mentioned, this one seems to have a Middle-eastern/North African flavor to it (Moroccan/Tunisian?). Very cool. Ends with a major chord vocal harmony. Awesome track!

Pt. 3
Track 9 - Dryad of the Woods
We start with a subdued, clean electric guitar playing a chord melody pattern. Cymbal work accents the pattern and a second guitar part joins in, before we lock into an easygoing rhythm with piano on the top. This one is an instrumental track. Later an acoustic guitar solo happens. Following that the tempo picks up slightly over a syncopated clean guitar, then it turns to a double-time beat. Nice track.
Chapter III
Track 10- Remedy Lane
We begin with 80s style “na-na-na-na” synths…..and a keyboard melody develops over top. The drummer is playing in a manner not unlike Nick Mason on PF’s Time intro. A short instrumental track. Interesting that the title-track is the shortest on the album. Great track, still.
Track 11 - Waking Every God
A few beats of solo piano leads the band in, and they lock into a 7-4 groove. Distorted guitars are back, but not excessively heavy. The vocals join in singing in octaves first, then harmonizing. We change to 6-4 in the chorus with layered harmony vocal countermelodies. Nice vocal arranging. A well executed scale run leads the guitar solo in. Vocals return for the closing portion of the song with a well-done high pitched musical scream note as the climax of the vocals. Again, this track is a bit heavier than we’ve heard in a while, but not extreme–Just rockin’
Track 12 - Second Love
A clean electric guitar starts this one with a riff that reminds me of the opening acoustic guitar chords from the theme from M*A*S*H. Gentle vocals come in after a few bars joining the guitars. Wonderful vocal harmonies join in. Then the rhythm section and piano enter on the second verse with a moderately slow groove. A nicely played melodic guitar solo follows. The vocals re-join with the beautiful harmonies An outstanding jump to a higher vocal register near the end made me go “ooh!” We close out the song with a bit of the M*A*S*H style riff. A wonderful rock ballad!

Pt 4
Track 13 - Beyond the Pale
This appears to be the closing Epic at just under 10:00 long. Clean electric guitar playing a staccato pattern starts us off with the vocals quickly joining. A heavier guitar and bass accent the beats, then after the verse ends the drums and keys join in. The second verse comes in over the top of this groove. The feel changes at around 2.5 minutes with a brief instrumental interlude on a heavier riff, Then we have a chorus with soaring harmony vocals over a still different groove. Things ease off and become gentler at around 3:00. Big power chords over a rhythm section and keyboards lead us to a quieter, but rhythmic section setting up the next verse. Lots of meter changes ensue. Then we get probably the most metallic riff I have heard, but still not thrashy. The vocals are gruff but not a demon growl. An awesome guitar-god solo follows.The original guitar riff returns at around 6:30. With heavier syncopated rhythms and very high soaring vocals. Another slower vocal section comes back later. The opening riff returns with only low-pitched spoken vocals in the final minute, with the guitar fading out while the vocals complete the song with only a very faint synth-bass drone fading out several seconds later/
OVERALL IMPRESSIONS
WOW!! What a great album that was. This is probably my biggest undiscovered gem so far in this challenge. I had heard of this band, but that was it. They are typically categorized as Progressive Metal, but if this album is indicative of the rest of the catalog, I’d say they were more of a modern symphonic prog band with some metal leanings (POS fans let me know). It never gets too heavy, in my opinion. Daniel Gildenlöw is a very well-rounded musician. He can tackle many different styles and deliver them well. The only track I didn’t love, but didn’t hate either was #3, Fandango. This is a very solid 4.5 out of 5 stars. Highly recommended.
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