12:5

A mark of a truly elite actor is that he doesn't merely _act like_ his character, he _becomes_ his character, occupying that role. With their enigmatically titled new album "12:5" (what would Pythagoras say?), Swedish prog-rock heroes PAIN OF SALVATION similarly display the mark of a truly elite band. On this acoustic live album, they don't merely re-enact emotions and try to adapt without electric instruments; they truly become an acoustic band, re-inventing their past work for incorporation into new acoustic scenes. As a result, "12:5" has the crackling vitality of genuine expression. It is more sincere, coherent, and compelling than even VANDEN PLAS' superb, revelatory acoustic record "Accult" (which is itself highly recommended). In that sense, "12:5" may be PAIN OF SALVATION's most remarkable performance yet.

In occupying this acoustic space, PAIN OF SALVATION exposes their heart, their identity, without the trappings of studios and electronics. And like the band, the album is deep and diverse: intimate and ominous; sparse and lush; hushed and electrifying; darkly seductive and openly inviting. In its way, it is less imposing than their denser prog output but no less compelling for seekers of intelligent life in the universe of music. The band plays from a blended palette of in-between colors --a spectrum ranging from metal to folk, rock, and even jazz or classical music-- that other artists couldn't even imagine.

Ultimately, "12:5" is a brilliant collection of decisions, visions, and revisions. It is essential for fans of PAIN OF SALVATION, and even newcomers (even non-proggers!) may be swept away by the creativity, skill, and craft of these genre-leaders.