BE

'Be' is the fifth studio album by Pain of Salvation, released in 2004. It is a concept album about the existence of God and humankind. A nine-part orchestra called 'The Orchestra of Eternity' is featured prominently throughout the album. 'Be' is a rock opera with a narrative story and characters, including Animae (Godhead), Nauticus (a fictional space probe), Imago (the image of humanity), Dea Pecuniae (the Eve of humanity's sinful nature), and Mr. Money (the protagonist and the Adam for Dea Pecuniae). 'Be' starts with the prologue "Animae Partus ("I Am"), and the rest of the album is divided into five sections. "I Animae Partus (All in the Image of)" comprises the tracks "Deus Nova - New God," "Imago (Homines Partus) - Imago (Man Is Born)," and "Pluvius Aestivus - Summer Rain." "II Machinassiah (Of Gods & Slaves)" comprises "Lilium Cruentus (Deus Nova) - Blood Stained Lily (New God)," "Nauticus (Drifting)," and "Dea Pecuniae - Goddess of Money (I. Mr. Money, II. Permanere, III. I Raise My Glass)." "III Machinageddon (Nemo Idoneus Aderat Qui Responderet)" comprises "Vocari Dei - Messages to God," "Diffidentia (Breaching the Core) - Mistrust (Breaching the Core)," and "Nihil Morari - Nothing Remains." "IV Machinauticus (Of the Ones With no Hope)" comprises of "Latericius Valete - If You Are Strong, Be Strong," "Omni - Everything," "Iter Impius - Wicked Path," and "Martius/Nauticus II." Finally, "V. Deus Nova Mobile (...and a God is Born)" comprises of "Animae Partus II." 'Be' borrows from a myriad of musical styles and is the most ambitious album by Pain of Salvation. 'Be' is the last album to feature Kristoffer Gildenlöw on bass.

The opening track, "Animae Partus," is God's soliloquy. No music, just spoken word from a woman and a man in a monotone voice. In the background, you can hear music that will appear later in the album. The Orchestra of Eternity appears on "Deus Nova" and creates a dark atmosphere that crescendos into complex, djent guitar riffing. Daniel Gildenlöw lists off the population numbers throughout the history of humanity until the present day. "Imago" reminds me of "Chain Sling" from the previous album, 'Remedy Lane.' "Imago" sounds like a sea shanty. Each lyrical stanza references a season and compares it to the different periods of an individuals life, from childhood (spring) to elderliness (winter). The sound of rain leads into "Pluvius Aestivus," which is a piano piece with orchestral accompaniment.

Finally, "Lilium Cruentus" starts to actually sound like the Pain of Salvation we know and love. But even then, the music doesn't hit nearly as hard as anything found on the two previous albums. "Nauticus" is a gospel song with baritone/bass vocal harmonies. An audio excerpt of a conversation between Mr. Money and his mistress (including a subliminal radio broadcast) leads into "Dea Puceniae." This song is a 10-minute musical theatre extravaganza. The sleazy groove reflects Mr. Money's corruptness. Cecilia Ringkvist is a guest musician who provides some vocals "Dea Puceniae." The final section, "I Raise My Glass," is completely overblown. The mixing during this particular section isn't great. I can barely hear Daniel Gildenlöw's vocals over the wall of noise accompanying him, especially during Mr. Money's proclamation.

"Vocari Dei" consists entirely of voice messages that were to be left on "God's answering machine." The band asked the subscribers of their newsletter to call a certain phone number and say whatever they would want to say to God. "Diffidentia (Breaching the Core)" is a traditional sounding Pain of Salvation song that's filled with heavy guitar riffs. The end of the song gradually crescendos to a grandiose climax. The djent guitar riffing that was introduced on "Deus Nova" is brought to fruition on "Nihil Morari." This is the point on 'Be' when society and its institutions fall apart. Overpopulation, climate change, pollution, gun violence, racism... the list goes on. People (like Mr. Money) who accumulated paper wealth and estate are in serious trouble.

"Latericius Valete" is a mostly instrumental interlude. "Omni" is a dramatic church organ piece. "Iter Impius" is my favorite song on 'Be.' Fredrik Hermansson's piano playing on this song is gorgeous. The music sounds desolate, as if there's no other life on Earth. Sure, you may have all the money in the world, but at what cost? Daniel Gildenlöw's guttural singing style at the end of "Iter Impius" augments the intensity of the music. "Martius/Nauticus II" is essentially a reprise of "Imago," which gives 'Be' more cohesion. When reprised, the music sounds more celebratory and ends the album satisfyingly. "Animae Partus II" starts the same way the album began. A woman says "I am," indicating that a new God has been born. A heartbeat fades into silence. There is a hidden audio excerpt at the end of the track. A child named Molly Fahey states, "There's room for all God's creatures, right next to the mashed potatoes."

In conclusion, 'Be' is a disappointing followup to the masterpieces that are 'The Perfect Element - Part 1' and 'Remedy Lane.' The album takes seemingly forever to startup and find a flow. However, the second half is far stronger than the first. Therefore, I will rate 'Be' three stars.