"Scarsick", the opener, already true violently on the album. Sharp blares Gildenlöw chanting through the speakers, accompanied by driving rhythms and boards ends guitar riffs. The song is already making you wanting more, and the Chorus gives food for thought for the rest of the album. A successful start.
In "Spitfall" to PoS critically (and critically in a musical way!) With the hip-hop and rap scene apart, expose all the feigned Da-Hood mentality of the gold chain genre as pure sham and money machine. Again, the chorus is noteworthy because it completely detaches itself from the rest of the song. These first two songs already show how PoS approach to her new album: take backbones of popular pop and rock songs of the modern music scene and set it's own stamp on which the entire structure being duly swirls mess. This makes even fun, although the chanting many guileless listener once foul burping could.
With "Cribcage" leads the band in shallower waters without being banal. The lyrics, one of the real weaknesses of the album may be meant as a "direct appeal" and therefore simply be knitted, but they do not lack a certain involuntary comedy. That's too bad, because the song has incredible potential, so the unfortunate text work falls thankfully marginally significant.
The song "America" is so sachharin therefore that it already almost hurts, but it is in his satirical effect by even a corner biting (and sounds like 3 runs no longer have evil). And in the song, the Swedes have also hidden the occasional joke, which inevitably conjures up a smile on the lips.
"Disco Queen" is probably the major bone of contention for critics. According to an interview with Daniel the song treats like "In the Flesh" the theme of abuse. Interestingly, PoS use this one beats, how gladly heard him in the '70s under the disco ball - the name is therefore program. Here, however, is quite an interesting Gildenlöw imagery in the lyrics, like a needle penetrates into the grooves of the black skin; meaning a vinyl record from the 70s, and at the same time is the theme of "rape" addressed. Musically the song is by no means limited to the upbeat, but leads quickly in the known Düstergefilde of Sweden, as they are known also from "Ashes". Where "Disco Queen" probably the most varied song on the new album and has a furious central portion which should really be the heart pumping every Progger. I readily admit that the song certainly could well dispense with the beat, and would thereby gain - but conceptually the Gewummere fits again. And somewhere it is delightful to hear how the band sent from the pop-case finds out to her roots.
With "Kingdom of Loss" is the second part of the album is heralded. From now on, the songs sound more like Pain of Salvation, without further experimental excursions into musical soundscapes from other genres. The first song of the second part is a marvel of melody and harmony and radiates full sad moments, almost like an elegy. The chorus is filled with an almost fragile vocals - accompanied by spherical flute - fits incredibly well with the textual sadness. Pretty big!
It follows with "Mrs Modern Mother Mary" the first song, which is not very convincing. Even here punchy moments are again present, and bad the song is far, but it leaves a lot missing from the ingenuity, the have given the initial song. Nevertheless, it is within the concept again very positive and allowed a little breather.
Another highlight first cabin is then "Idiocracy". Threatening starts Klangwerk, the rhythm section has its hands full trying to chase the listener shiver down the spine. The almost ghostly chants to do the rest. And finally breaks the song into a stirring chorus (Balalaika included!) On to the grand finale. Phenomenal!
Probably the heaviest track on the album is "Flame to the Moth". And here I have to admit is Daniels Scream insert really used to. However, the song conceptually convincing from start to finish and comes up with interesting structure and a partially rapid, sometimes explosive melodies. Wonderfully varied and refined staged.
"Enter Rain", the longest track of the disc, in turn fits conceptually very good, but let me back somewhat at a loss, because the song structure is not really exciting. The melody is nice, but skirmishes rather casually therefore. But since we are at the end of a very dark and at times melancholy tinged album, which also has his permission. Therefore fits the song, but on its own it is not necessarily the big hit.
To speak of a "bad" album is here clearly misplaced - Too good, powerful and resourceful is the production, in the popping bass from the speakers; just perfect guitar sound, the "Pain of Salvation" is still glorified spherical, and yet always be discovering new things; and the song of the parties is even more imaginatively designed and multifaceted. "Scarsick" is not the best record of Pain of Salvation. The disappointment will be great for all those who expected that Pain of Salvation would not leave with all their diversity the drawer "prog metal". Because one could read as already everywhere: metallic sound here few songs. Who does not bother even receive a great work of great musicians, the more exciting and more interesting with each run is incredibly fascinating rhythm with gimmicks and cheerful sound experiments. I can only strongly advise any fan quenched to become free from the prejudices and to let the music work, as she deserves.
