BE

Ok, this is the first album I ever feel the need to submit a review of. I was, at first, very curious about this release, having heard about the complexity of the concept and of the variety of actual genres within the same CD. Having listened only to Remedy Lane among Pain of Salvation's pearls before approaching this record, I just felt I had to give it a try. Furthermore, I got to see how BE has seemingly let down many people and even at times divided the fans in two branches, and this added to my curiosity. At first listen, I was surely blown off by the remarkable variety of tunes, sounds and rhythms within the same concept. It either took me two or three listens, to appreciate it a lot. It took me watching the Original Stage production DVD to become addicted to it. The concept is very fascinating, dealing with such themes as creation, evolution, death, exploitation (very frequent theme in PoS), faith, and so on. You may already know what it is about: Animae, God's representation, is wondering about the moment when he first started to be, not recalling how or when, or even where the transition from non-existence to existence occurred. To gain the knowledge he is longing for, he spawns fragments of his essence, also known as mankind, also known (in this concept) as Imago. In the beginning Imago is joyfully voted to a search for knowledge of the world surrounding him, pushed further by his curiosity. Gradually, as his knowledge adds up, his thoughts and way of living change, distorting his innocence into something different, like greed, for example. This brings mankind to a slow but inexorable downfall, until the exploited planet can't contain Imago anymore, Animae's task fails, and the deity itself fades away, dying. Meanwhile, just as Animae has put his knowledge into the construction of Imago, Imago has used his acquired knowledge to develop things, like Nauticus, sent to Mars to help its creators save themselves from the inevitable extinction. Nauticus reaches Mars, and the cycle closes to start right where it began, as a new God is born. A story within the story is represented by Mr. Money's deeds, which I will talk about later on. In detail, this is what is present in the album overall. The first track is Animae Partus, Animae's birth. This is a spoken passage, so there's not much else to add to what Animae itself says. The music kicks in at the following track, Deus Nova. A suggestive ambient melody abruptly turns into a quite sudden succession of pretty heavy riffs, accompanying the count of population's exponential growth. When the count-up reaches modern days, another spoken part leads us to a surreal- feeling trip back in old times, with percussions and a folk-sounding string instrument (mandola I guess), giving an ancient feel to this beautiful song, Imago. Of course, this is far from being a metal song in a metal album, and it is nowhere near being considered a self rip-off of Remedy Lane's Chain Sling. The progression of the lyrics (where forests and oceans start to appear, then returning to the lyrics of many other songs as a lyrical leitmotif), in which Imago's thinking evolves (wanting to see all, then wanting to know all, finally wanting to possess all) is incredibly effective. Musically, the energy given by this song is a good reward to the listener, and the effect made by the mandola (again, I guess) adds up to the rustic feel of the song. Pluvius Aestivus brings the story to nowadays, with a very simple keyboards pattern, which eventually brings the idea of light rain drops, incorporated to the song's title "Of Summer Rain". The rain ends up with bass lines that lead to Lilium Cruentus (Deus Nova), unquestionably amongst the best lyrical efforts ever made by Daniel Gildenlöw. Dealing with the feelings of Imago (and of mankind in its entirety, indeed) towards death, impotence in front of it, and the need of "someone to blame for the pain felt when death takes its toll". The music is closer to the prog metal genre, the one PoS have tended to be labeled within, and the one which made them best known. The pathos grows, as we reach Nauticus. Simply a low-pitched "Pilgrim"? No. Spiritual? Yes, I guess. The guitar work is pretty enjoyable, if you manage to pay attention to it, but it is not very easy, as the extremely low-pitched voices, sounding at the same moment tormented and full of hope, literally steal the show, either in a good or a bad way. After a quite hilarious spoken intermission, introducing Mr. Money's character, Nauticus literally drifts into the probably most controversial song in the album, Dea Pecuniae. Many find it a masterpiece, other consider it overlong and dull. To me, it is not the best effort Daniel's group has ever done, but it's surely not to underestimate. I did honestly find it quite forgettable at first, an overlong song, with a not-so-catchy feel and a quite nice solo, but after watching the DVD I completely changed my views on it. Mr. Money's character is portrayed in all that greed has turned Imago into: carelessness, selfishness, ignorance, arrogance, overconfidence. Mr. Money's wealth has given him the chance to acquire immortality through cryogenetics, in his wish to own more than he has (which is. well. a lot) and become the king of kings, the new ruler of all. Lyrically it is nearly perfect, with Mr. Money's words reflecting his vices and the sides of his wicked personality. The climax is reached when he "raises his glass to all those who suck it up and pay his debts, saluting the poor bastards who just nod when he sits at their table", and, quite ironically, he wishes that nothing will be left for others at the moment of his awakening. the song has a very nice clean solo by Daniel, and some very nice guitar work, most times going unnoticed, by Johan Hallgren, in the final part of the song. Then Vocari Dei comes, giving a sweet background music to the thoughts and feelings of people (the real life Imago) towards divinity. after those, Diffidentia breaks through, hard hitting with the piano sound and the crunching guitar part adding to the feeling of anger transmitted by the first part of the song, in which Imago questions Animae and points the finger at it for everything, even threatening the divinity of taking all away from it. A different mood, actually a Nauticus reprise, kicks in at the part immediately following the heavier and anger led one: Animae is slowly dying. He observes what his creation has become, and has no choice but admitting failure and vanishing, leaving mankind to their destiny. This song may sound a bit dragged at times, but it builds up well to its purpose within the story, with Animae's downfall and death. As Animae has died, we enter the last part of the Machinageddon, with Nihil Morari. Tool-reminiscent bass and vocals bring us to a world where the exploitation of Earth has become intolerable, and there's nothing left to men to use, break, or literally rape. Nothing remains, indeed. The last part is purely definable as prog metal, with the Deus Nova reprise, in both the music and the population count-up, reaching unreal figures by 2050 AD. Imago has started a downwards spiral, unable to fix what he has done wrong in his past. Very interesting song for prog metal lovers. Everyone will disagree eventually, but Latericius Valete, to me, is the highest pathos peak reached in the whole story. Sweet turns to bitter, mellow turns to harsh, all after just a simple sentence. The speaker continues Nihil Morari's people count, with a tragic info: within ten years billions and billions of people have quickly died. This is the most thrilling moment to my senses, and it's one of the very few songs (along with Tool's 10,000 Days and few others) that never fail to send chills down my spine at any listening. It all follows with Omni, a brief prayer with church organ and choir style, with a Imago's hope for Nauticus to come back with the solution to his problems. a thing that will never happen. All have died on Earth, minus one. The one who achieved immortality, Mr. Money. It's very funny how Mr. Money wished nothing to be left, in Dea Pecuniae, and in the end really nothing was left, for him. Other emotional peak, the song builds up so well to the end with ever-growing emotions transmitted, of Mr. Money's anger for having become nothing else than a ruler of ruins. Very intense song, neat solo, outstanding vocal performance by Daniel, perfect lyrics by Fredrik. It's either this song is "the one" or what comes just after. You must give it at least a listen, even if it's best coming near the end of the concept. Martius/Nauticus II is almost the end, narrating when Nauticus has reached the line that Mr. Money will never cross. As for the actual music, this part is really enjoyable. It's characterized by two parts: the first one has a similar cadence to a march, if you notice it's a reprise of a part from Pluvius Aestivus; the second one is more easily recognizable, as a Imago reprise. Nauticus is now every forest, every tree, and all, omni. A new Animae has come to existence, as Nauticus repeats the first "I am", showing the cyclic nature of becoming. Animae has developed Imago, who has developed Nauticus, which will develop something else. There's nothing else to say about this, as words can't really explain perfectly all that this album is about. So if you don't own this release I suggest. get it as soon as you can, and just BE.