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I'm Far From Sober and She's Far From Sane - 95%

Twisted_Psychology, November 23rd, 2012

Originally published at

One cannot emphasis just how important the release of Road Salt One was for Pain of Salvation’s career. On one hand, it showed that they were still capable of releasing a consistent album after a few concepts proved to be a little overly ambitious. On the other hand, it still allowed the band to continue their never-ending pursuit of strange, new sounds. Originally intended for a late 2010 release, Road Salt Two is an appropriate continuation of the effort before it but also works nicely as a stand-alone effort. It is also the last album to feature longtime guitarist Johan Hallgren, effectively bringing the band down to just two official members.

As expected, this album has a lot in common with its first part in that it gets by on a very old school blend of bluesy prog rock and lyrics dealing with relationships and frontman Daniel Gildenlow’s raging libido. However, this album is made distinct by a noticeably darker tone that is most prominent on tracks such as “Softly She Cries” and “Eleven.” Like the first part, there is also a strong melodic side to this release as there are plenty of ballads on display. While no song on here is as tragic as “Sisters” was (Quite frankly, I don’t think anyone will be able to top that one), but they’re pretty well written with there being a bit more folk influence and some interesting bookending pieces.

The band is also pretty solid though there is little in the ways of technicality. The guitars and keyboards are what stand out the most as the former puts out some solid riffs on tracks like “Conditioned” while the latter occasionally ends up being the sole instrument accompanying the vocals on a ballad or two. Speaking of vocals, this is predictably an album that is all about them as Gildenlow provides a wide range of crooning, harmonizing, squealing, strutting, whimpering, and a few spoken bits. His performance is quite emotional though there are some moments that feel rather pretentious and over the top; the spoken vocals at the end of “The Physics of Gridlock” feel like they’d be part of a monologue that would pop up at the end of some fancy foreign film. Must be the French…

Like the first part and just about every other Pain of Salvation album, there are a wide variety of styles being played with on this album. However, this release seems to be a bit focused on more specific styles than its predecessor and doesn’t have as many out there moments. Bottom line, there’s nothing on here that matches the all-out weirdness of a track like “Sleeping Under The Stars.” Of course, there are still some moments on here that recall songs from the first sequence. While “Conditioned” has an overall feel similar to that of Rage Against The Machine’s “Sleep Now In The Fire,” the opening riff does come off as sounding like a more upbeat version of “Linoleum.” In addition, the piano-driven nostalgia on “1979” has a feel similar to “Where It Hurts” and the closing bit of “The Physics of Gridlock” might as well be a reprisal of “Of Dust.” Given how this is a two-album concept, the resemblances are quite understandable.

But in a move that is rather odd for a band whose best songs tend to be overwhelming ballads, the heavier songs just might be the most enjoyable tracks on here. “Eleven” stands out the most due to its doomy Sabbath-styled riff though “Softly She Cries” makes good use of a dark bluesy groove and the previously released “Mortar Grind” makes use of some spooky hooks.

But while they are not as emotionally gripping, there are still plenty of highlights that pop up in the melodic material. “To The Shoreline” is a particularly memorable track thanks to some cool folk/piano contrasts that are aided by an overall grandiose feel. In addition, “1979” works nicely as a quietly extended interlude of sorts and “Healing Now” features some solid acoustic guitar work.

Even though Road Salt Two is essentially a repetition of the overall concepts that were conceived on Road Salt One, it still manages to be another strange Pain of Salvation album. Its darker feel gives it a noticeably different tone and while there isn’t really a track on here that would drive a listener to tears regardless of whoever may be watching, it does feel like it may be a bit more consistent in its delivery. Overall, I still think the first part may be the stronger release but would still recommend this release to go along with it. It has some terrific songs and may actually be a bit easier to get into for unfamiliar listeners. And like just about every album before it, it does make one wonder what Gildenlow’s next trick will be. I for one will be looking forward to another strange but satisfying curveball.

Current Highlights:
“Softly She Cries”
“To The Shoreline”
“Mortar Grind”

A Rather Deep Experience - 89%

ScreamoMantis74, March 16th, 2012

I love Pain of Salvation. I got Remedy Lane just two years ago, and i loved it so much. I was also very happy to know that i was discovering the band pretty late so there was alot of content for me to listen to without much waiting. I then picked up this album off of itunes, and it was a very different listening experience than that which i expected. In a very good way, might i add.

First off to say, i don't exactly understand why this album is called Road Salt Two, because there are little to no mentions of anything road-like or salty. That is not a bad thing, however, merely an observation. While Road Salt One was certainly mentioning the traveling life of a band like PoS, this album seems to be much more about the raw emotion one might experience during a tour. In truth, that is likely open for interpretation, because only a band like this could have that kind of an effect. I got the message out of it regarding the groupies and the alcohol that are available during a band's existence, anybody else could get their own message out of it, so that alone is reason enough to listen to it. There is alot of meaning and emotion and thought in this album, and it is incredibly existent and is a joy to listen to and get thrown into the world that PoS creates for you.

Daniel is a GREAT singer, and all the instruments leave nothing to be desired, all feeling exactly in place and the perfect sound to go with the lyrics. The piano in "1979", a beautiful song about memory, is absolutely breathtaking, and is by far one of the greatest songs off the album, tied with "To the Shoreline", "Healing Now", and "Through the Distance", all with their own distinct sound. Another great song, "The physics of Gridlock", is very good and deep. If there is any not as great song on this album, it would have to be "Mortar Grind", which seems somewhat repetitive and less interesting than the others.

Some have certainly called PoS metal, and in all honesty, i generally disagree, but some songs come through and play metal. Sometimes it works well with a band like PoS, which is easily demonstrated in the song "Eleven" and "The Deeper Cut". "The physics of Gridlock" is sometimes considered metal, but the tone of the metal in it is sometimes a little less than satisfying, sounding fairly gritty. Some people would certainly like that, but it didn't exactly sit well with me, thinking it could have had a much better feel to it. And to add on to that mention, "Conditioned" is somewhat metal-like, and is a fairly decent song, not too great but not too bad. "Road Salt Theme" and "End Credits" are kind of like the "Remedy Lane" song off the Remedy Lane album, in "End Credits" is somewhat a compilation of the best moments from the songs all around. I never really saw the point of "Road Salt Theme" it was fairly uninteresting.

Road Salt Two is great. Sometimes a little bit hard to listen to, but all around amazing, intriguing, and beautiful. Listen. Love. Enjoy.