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KRISTOFFER GILDENLÖW is a Swedish artist best known as a bassist in PAIN OF SALVATION, he is also a musician who worked within KAYAK and especially on his DIAL project in which he explored atmospheric sounds. He's releasing his 3rd personal album here and reminds me a lot of the RIVERSIDE front-man side- project on LUNATIC SOUL, which is to say a much more ambient band than he can do with the original band. Here, pure emotion, you can also think a little bit about CARPTREE, David GILMOUR, Jeff BUCKLEY and Leonard COHEN for a cover. An initiatory, progressive and sophisticated journey where melancholy can reveal cold beauty on an acoustic variation, masterfully completed by warm synths.

"Eternal" with Anne BAKKER on violin and Maaike PETERSE on cello for a soft, ethereal and ambient intro, introspective (well I put it on loop ten times before continuing already!), Like a solemn hymn in front of a field of battle, just the perfect piece to announce "Holy Ground" in chains and with a haunting theme, melancholy limit all on a repetitive acoustic guitar base; my feelings share on the intimate melodies of ANATHEMA 2nd version, on the titles of Jeff BUCKLEY, on the melodic and acoustic escapades of the great PAIN OF SALVATION; moment of serenity, introspection, intimate journey. In fact, this album will be on the same line with a few variations. "Like Father, Like Son" acoustic composition which increases in power in terms of voice and instrumentation over the listening, unstoppable melody that reminds me a little of what KWOON, this small group from Ile-de-France also did not exist. that long; Paul's guitar solo is just divine, too much guitar kills the guitar but a little guitar glorifies it. "Infected" with a very strong track that reminds me of ASIA's "Aqua" intro with Steve HOWE and his legendary guitar; good a reminder on confused and foggy memories but a moving reminder; a piece where each instrument has its place, Ola on brass and Kristoffer on mandolin are overwhelming as Dirk and Jeroen send the percussions back to each other. "Snow" already announces the middle of the album, yes the titles are very short despite the emotion they give off; here a soaring, ethereal and cottony atmosphere which sends me back to the best ANATHEMA just for the crystalline and repetitive synth, to NO-MAN or to PAIN OF SALVATION in acoustics, be careful, in my opinion, the most beautiful piece is the most beautiful piece, the notes fall like snowflakes, we don't know how long the title lasts, maybe 20 minutes!

"Our Home" continues in the same niche, don't expect any musical development within each track, the track itself is one: again reminiscences of KWOON and PINK FLOYD or a bit of the BLACKFIELD, a still very beautiful moment just with a melody that comes out of nowhere all enhanced here by the voice of Erna. "I Cried Today" on a captivating title and chorus, the beautiful part of Maaike's cello just before one of the rare phonic explosions followed by a final with backing vocals; it's the oxymoron that I love, soft and strong, the arpeggios are overwhelmingly simple; to note the calm voice of Kristoffer which can make shudder as loud as that of his brother. "Chelsea Hotel # 2" from whom you know for a cover so sensitive, so emotional, so sensitive which reminds us that we are indeed on a ground that the late Leonard COHEN would surely have been happy to hear, well I think so, to hear his meeting with the other great diva of the voice that was Janis JOPLIN. "You Need No Stay (Away)" concludes the album with a voice and piano duo, a simple title again but with a different melody which provides a melancholy enjoyable moment. Well, a bonus track "Never Changed" extends the atmosphere with an air that reminds me of "Une Fille Aux Yeux Clairs" by Michel SARDOU, known locally; be careful, I'm talking about a fleeting memory of one or two notes but this is strong enough for me to state it; good here Kristoffer uses his voice in phrasing, a bit like in the musical wanderings of Roger WATERS.

That's it, it's over! What can we say except that it was beautiful, intimate, dark, filled with nostalgia, that the tracks were all bathed in a musical atmosphere overflowing with spleen. What if this album is not progressive but bathed in post-progressive sounds? What if it is not that these small tracks are linked over the listening to deliver a delicate restful soundscape, if each piece takes so far without having to play on an exuberant technique? A word comes back to me at this moment nudity or music stripped bare.

To finish, an album without big flights, without big pieces but an album just and simply perfect. An album that is also difficult to rate because everything is just perfect but also just disarmingly simple.