EMPTY

Kristoffer Gildenlöw is known to us as the bassist of the Swedish prog-metal band Pain Of Salvation, in which he played from 1995 to 2005. In 2006, he moves to the Netherlands, to be precise, to Utrecht, which leads him to a illustrious career as a session musician. His impressive resume includes collaborations on beautiful albums with artists like Neal Morse, Kayak, and Nine Skies. A significant aspect of his passion is creating solo albums, a talent he has demonstrated four times before. On his new album, titled "Empty," a torrent of flavors once again envelops the listener, and there is truly no reason not to let oneself be buried under it.

Gildenlöw refers to himself as a symphonic singer-songwriter, and that hits the nail on the head. On "Empty," he pays tribute to the bands he loves, such as Pink Floyd, Dire Straits, and Mike Oldfield. All this musicality is packaged in twelve manageable songs that could have been written by Bob Dylan or Ray Lamontagne with progressive aspirations. "Empty" sets itself apart from his previous albums with fuller arrangements, including real strings, brass, and background vocalists. Additionally, four guitarists, besides Gildenlöw himself, contribute with their impressive solos, adding zest to the music.

"Empty" underwent a creative process spanning years. The first songs date back to 2019 when the album "Homebound" was recorded. Due in part to the COVID-19 crisis, "Empty" did not materialize, and only in 2022, after Gildenlöw added seven new compositions, did the work truly begin to take shape. With its release on February 8, 2024, the world can finally witness Gildenlöw's intentions.

"Empty" is a thematic album that explores the human soul in various situations. Translated into the music, you can expect a wide variety, and that's exactly what you get, at least? there are a few elements that contribute to a tremendous cohesion within the album. Good examples include Gildenlöw's melancholic voice, casting a Chris Rea/Mark Knopfler-like languor over the songs, the swirling tones of the electronic piano, the tasteful play on the (sometimes fretless) bass guitar, and the calm, clear play of the supporting guitar. Another significant binder is the presence of all those guitar solos, and there is a continuous subtlety that ensures a homogeneous listening experience.

Despite the album's diversity, it is purely due to the compositions. It starts off well with the short Time To Turn The Page, where a subtle piece is split in half by a gritty guitar solo. And in the following songs, your emotions are sent in all directions. Hear the strings beautifully in The End Of The Run, feel the Eddie Vedder-like atmosphere of Harbinger Of Sorrow, and brace yourself for the strong combination of slide guitar and electronic piano in the finale of He's Not Me. With "Empty," you're never satiated. Particularly beautiful is the background vocals of Erna Auf der Haar in the dreamy Black & White. Don't overlook the Fish On Friday-like art rock and keep that thought, you'll need it later. It's almost certain that Down We Go was written with the intention of serving as a closer. It certainly has that monumental quality with its ending.

Next, Gildenlöw takes a turn that sparkles a bit more. Songs like Turn It All Around, Beautiful Decay, and The Brittle Man have a cinematic character, making Means To An End and Saturated truly stand out. The Dire Straits homage in Means To An End is so cleverly crafted that you have to pinch yourself three times not to be mistaken. On the other hand, Saturated is a track that wouldn't be out of place on a later Pink Floyd album, with the understanding that Gildenlöw is anything but a copycat. Never claim the latter. The closing title track Empty underscores once again what a genius musician Kristoffer Gildenlöw is. Let's leave it at that.

Orginally posted on www.progenrock.com