γιατι ρε daniel…? 
μία από τις καλύτερες συνεντεύξεις του που έχω διαβάσει, σε σουηδικό περιοδικό.
part1
[SPOILER]Fire, air, and a tiny bit of water
Six days ago, Daniel Gildenlöw’s future changed. After a dramatic delivery, his wife is still in the hospital. He wants to take time off, but has a Pain of Salvation album to market. Soon, the European tour that will last until December will begin. In the midst of this chaos, he spends half a day with SRM [Sweden Rock Magazine].
- The original idea behind the ?Road Salt? albums was a simile of life as a road, he says. Along that road, there are certain key locations. Most days you just walk through, without anything big happening. Then there are moments that become very clearly important. Like what has happened to us now. This is a clear fork in the road. When you have a child with Down’s syndrom, you know that there is a life before and after that event. There doesn’t have to be a difference in quality, but your life has taken a new direction.
Daniel Gildenlöw and Johanna Iggsten have become parents for a third time. Their son was born with the umbilical cord wrapped three times around his neck. They were made aware of his diagnosis shortly after the delivery, which only lasted an hour. The following days, several teams of doctors tried to find a cause to his low heart frequency.
Daniel expresses astounded gratitude over the fact that so many people, with such great knowledge, could spend so much energy for such a lonely, tiny person. The situation has now stabilized, but he says that he has aged five years in five days.
- You can?t say: ?OK, can we take five, go home, and continue this later?? You?re stuck in an event that you simply must ride out. Another thing that happens, is that you, without realizing it, have imagined your road slithering forward, but then suddenly you have to redo the whole thing. It’s like you’re building a bridge, and have made pillars further ahead so that you can continue building when you get there, but then you’re pulled in a different direction: “OK, but actually, I haven’t made any pillars over there, at all…” It?s a tough process, and quite an urgent one, because you need to have a drive forward just as much as you need to have nostalgic anchors in the past.
Does music help in those situations?
- It?s not like I write a song about it, at least not initially. But since I?ve already written about intimate things in the past, and have examined many of my feelings, I feel a bit more prepared. The work I did in the past helps me, simply because there are very few thoughts I haven?t already thought.
As I leave Daniel Gildenlöw?s estate, between Eskilstuna and Strängnäs, I do so with the same feeling as when we twice before spoke on the phone. No answer has come across as routine-like. It doesn?t seem possible that he could have any enemies. He has formulated thoughts that I, in the coming days, catch myself referring to. When I see certain quotes written down, I want to add an asterisk after them and say: * This looks self-rightous, but it actually sounded humble when he said it.
His answers are commited, wordily, and patient. After five hours, he can still digress into discussions about Picasso’s evolution, or about the PC game “Diablo II”, or about his failed hunt for a gas-driven car with seven seats.
He does this during one of the most overwhelming weeks of his life. Despite everything that has happened, he has to spend every evening doing interviews over the phone. When he told his German press agent about his family situation, the schedule was postponed ? one day. But as we sit at the kitchen table, there?s nothing to suggest that he has other things on his mind.
- One thing I?ve tried to frame in songs is the feeling of disbelief you get when you realize that the world just keeps spinning when something troublesome has happened. I’m from a school of thought where that realization has been very demanding, especially when my grandfather passed away when I was in my twenties. The earth and weather didn’t care. In a very painful way, it became apparent how local your issues are, and of course also how local your accomplishments are. But I’ve reached a place where I find comfort in that.
The world that keeps spinning includes five year old Sandrian (middle names Silver Isidor Khan), and his two year old brother Nimh (first names Jonathan Lennon Tintiro). Their newborn little brother will be named Morris. Among the shifted pillars of future, there?s one regarding this.
- I?ve wanted to name both Sandrian and Nimh ?Lipton Diesel?, Daniel says. This time, I was thinking that if we had a boy, he would get that name. But then he was born with Down’s syndrome and we felt that perhaps it would seem a bit “over the top” for people who don?t know us. For the longest time, I really wanted Sandrian to be called Tinnitus, but I had to give it up eventually. When I grew up, it was so strange to share a name with people that I didn’t have anything else in common with. I?m into that indian tradition to give names that describe the person, without taking it as far as Drives Moped Fast. You can?t make good indian names if you adapt them to modern times. Cheats On His Taxes, and stuff like that.[/SPOILER]
part2
[SPOILER]The family lives in a house in Barva, a Soermlandic region whose rural district weapon hangs from the flagpole. Daniel grew up a few kilometers away, in Jäder. He was born on the 5th of June, 1973, and sums up his past as “structured.” His mother, Maria, is a physiotherapist, and his father, Rolf, is a motoring journalist. His five years younger brother, Kristoffer, was Pain of Salvation?s bass player between 1994 and 2006.
- The downside is that I’ll forever be nostalgic. Both me and Johanna have a romantic and philosophical perspective on life. I find great difficulty in just being in the present. A large part of my bandwidth is used to stream information from my past and my possible futures. It’s difficult to simply shut off those streams. It can be a good source to pour from, but sometimes I wish I were a simple person.
He wasn?t an outcast as a child, but he paints a picture of an oddball.
- One of my best friends from that time has said something like, that I had such insight and that all the others were just children, which isn’t how I perceived it, at all, back then. I was just trying to fit in. I suppose everyone does that, more or less, but perhaps they weren’t as aware of it as me.
At one point he feels provoked by artist Salvador Dalí?s absurdism, since he himself has ?struggled a whole lifetime, trying to seem normal.?
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I?m bothered by people who try to be strange, he explains. What?s so hard about that? Just act completely socially incompetent and you?re perceived as strange and eccentric. I didn?t feel like I had a whole lot in common with the others at school. I felt like, either I had understood something that they hadn’t, or the other way around. Certain things came very easily to me, as opposed to the others. If someone had drawn a car and let the car body cross the wheels, I would contemplate whether or not they actually saw the car that way. Or was it a combination of how they saw it and how they imagined the drawn car? Or was the hand physically incapable of drawing the wheel arch? It felt so… odd. How could you even think like that?
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I had a discussion about religion in first grade with a teacher who didn’t like being questioned. The atmosphere got very heavy as I thought it seemed strange that there would be an all-embracing god. I had a long debate with my fifth grade teacher about the existence of ghosts. We got into a real argument. But he was good, and he has come up to me in my adult years. I think that we’ve appreciated each other very much, perhaps because I gave rise to discussions that never would’ve been there otherwise.
Daniel Gildenlöw was eleven years old when he formed Reality, which changed its name to Pain of Salvation in 1991.
- I?m a very intellectualizing person, when it comes down to it. I?m also full of emotions, as I believe we all are, and music is an important medium for channeling those emotions. I can express myself through music in ways that aren?t possible in a more typical company.
At the turn of the millennium, he decided to make a living as a musician. He left his life as a student ? with stray courses in gender theory, radiophysics, product development, industrial design, and peace work ? and has since then worked with Flower Kings and Transatlantic, among others.
- Many want what I have, because I can play lots of different instruments and learn quickly. I could get more gigs if I felt I had the time.
Despite these acknowledgments, he avoids reviews.
- Everything but 10 out of 10 pisses me off and makes me sad. We might be told that we’ve gotten an 8 in a really big magazine, but then when you flip the pages, you see what shit bands got 9s and 10s. What is that review worth, then? If they haven?t realized how shitty those are, how can I trust them to have fully understood that we?re good, as well? I try to grow up and deal with that in a different way, but it?s hard. I feel like there are very few out there who invest as much as we do in all of our products. In those circumstances, it?s tough seeing something that?s just music get a higher score.
He claims to be addicted to change. Several times, he returns to the importance of seeking out new experiences. And yet, he’s run the same band for 27 years. He?s been dating the same person for almost two decades.
- That?s why I constantly need to change the circumstances there, as well. Johanna changes, too. We?re going through a journey together. I might drive her mad, and she might drive me mad, but I think we need each other. If you take a look at horoscopes, however much you think that’s worth, I’ve been told that I have a pretty unique one. I’m basically just air, fire, and a tiny bit of water. I have no earth, whatsoever, whereas Johanna has lots of it. We’re alike in many ways, but in certain basic ways of thinking, we’re different. I think I might feel pretty good with having life structured by a grid pattern, even if I find it difficult to create them myself.
They met at Bona folk college in Motala, where he took a writing course, the year after graduating from a music program in Västerås. Their story isn?t independent from Pain of Salvation. ?Remedy Lane? is, to large extent, about their relationship (?but everything autobiographical becomes fictional as soon as you make a selection?). The song ?A Trace of Blood? depict the miscarriage they experienced almost ten years before Sandrian was born. Daniel remembers it as the worst event of his life.
- We were very young and took it hard. We had built big visions of the future, and probably hadn’t realized how common it is. Unfortunately, the hospital staff that took care of us were extremely vague, so we didn’t understand what was happening or what they were doing. For them, it was routine, but for us, it was our big romantic bubble bursting. It was a shame also in the way it stained every subsequent pregnancy. I couldn?t fully enjoy them. I kept thinking that ?you never know." It was an unnecessarily high price to pay, compared to what the outcome could’ve been if we had had decent, humane, understanding staff that could’ve explained the situation.
He would?ve erased the lyrics if she hadn?t consented to sharing them.
- She is, just like me, interested in doing things for real. We both thought that it would be difficult to feel so exposed, but we were interested in how it would turn out. In that sense, it was a lot like a catharsis thing. Everything I had gone through resulted in music almost immediately; it flowed out right away. But I don’t know if I would want to sacrifice that much integrity again.
By continuingly singing the songs, and discussing them in interviews, he is constantly reminded by the events.
- It also means that you?re left with less for yourself, he elaborates. You don?t just present a public version ? you give away a part of your own emotional spectrum. You lose your connection to it. You make it public property. All those memories and events… it becomes difficult to tell what’s the album and what’s private. In a sense, you’re processing your feelings in that way, but you also distance yourself from them when you make them available externally. But I guess that’s the point of processing things, that you can take it outside, look at it, and turn it into something that no longer clogs up the system.[/SPOILER]
part3
[SPOILER]The link between Pain of Salvation and Daniel Gildenlöw?s personal life is strong. As he lines up the band?s career chronologically, he specifically points out 2003 and 2007, when he had his panic anxiety attacks.
- I find it interesting when reality blends with fiction. I love movies that are metaphysical. I believe that I, in the same way that I?d like to redefine what music can be, have tried to redefine what a band can be. When we?re placed in a category, I get restless. If we?re supposed to do a biography, I think: ?Is there anyway to do it differently?? Just like on our albums, I then try to infuse something intimate. It might seem irrelevant because no one else does it, but it finds relevance through its information. You can see that there?s a constant symbiosis, for better and for worse, between the individual and the music.
Both breakdowns were caused by Pain of Salvation.
- In 2003, it was the day before the premiere of our ?BE? show. Lots of things were still to be finished. We worked around the clock. I started crying uncontrollably, without any proper reason, as a purely physical reaction. My whole body was shaking for hours. Johanna had to put me in a bath tub. In 2007, it was during the first tour that I had a child at home. I felt very worn out. We also knew that it was the last tour with Johan behind the drums. There were lots of factors contributing to me breaking down.
Drummer Johan Langell had been a member since 1989, when he was 14 years old. His departure in 2009 proved a breaking point for Daniel. For the first time in 25 years, he was ready to give up Pain of Salvation.
- I?ve always been incapable of stopping and smelling the roses on my way up the mountain, other than in everyday things. I always feel like I?m being chased by the thing I want to accomplish. But that year, I had the opportunity to pause and see where I’m coming from and where I’m headed. First Johan quit. Then, just a couple of years prior, we had been forced to ask Kristoffer to leave the band, which was tough both musically and personally, as he’s my brother, and we got a new bass player whom we didn’t click with, at all. Once we had finally managed to find the energy to think “let’s do this thing” and were about to go on a US tour, our record label went bankrupt. At that time, we were expecting our second child. I came to a point where I just felt like "screw this.?
The change came after his first free summer since he was eleven years old. Doing some soul searching, he visualized his life as circles.
- I realized how thin many of those circles were. Everything is tightly connected with Pain of Salvation. My job is Pain of Salvation. Most of my friends are the other members of Pain of Salvation. I constantly sacrifice much of my family for Pain of Salvation. All those circles suffer immensely, which became very clear once I visualized them. I?m spending too much time at home to pick up speed with the music, and I spend too much time away from home to invest enough in my family. I end up with a situation where I let everyone down, including myself. No one gets as much as they need and deserve. But post 2009, I feel confident in being a person outside of the band, as well. It?s a change, both in thought and feeling. I no longer feel like I wouldn?t know whom I?d be without it.[/SPOILER]
part4
[SPOILER]With a more free and humble perspective, the ?Road Salt? concept fell into place. But he claims that he?s still on the verge of destruction with every album creation.
- I?m playing dangerously close to the fire with my mental health. It?s difficult for me not to care. Everything has to fit from the first to last note. There has to be a direction, an idea, and it has to reach all the way into the artwork. You can’t just skip one part. You have to really feel every step in the process, which is incredibly straining emotionally. But I would never be able to look myself in the mirror otherwise.
What makes it worth it?
- I don?t know. Every year, I feel that it?s not worth it, because the sacrifices are so obviously great. Even if we started making millions, in the end, it wouldn?t add up to more than a few cents per hour that we?ve invested since the start. But I get something else out of it. Even though there?s not a lot of time to see much, I get to visit more countries than most do in a lifetime. Just in the last couple of months, I’ve been on a bomb threatened steam train in Russia, ridden a mini bus through Australia, I?ve been to India and seen parts that I don?t think many tourists ever get to see. I get something invaluable from that. The only difficult part is that my wife has to pay a large part of the price, but she doesn?t get to stand on stage in India.
How do you deal with your bad conscience?
- We talk about it. That?s the only thing you can do. And then there are certain benefits that other jobs don’t have. I can allot my time when I’m home in a way that many others can’t. Another tricky thing about the music industry is that you have to make an effort to keep your ego grounded. You end up in situations where people have lost all perspective. You have to keep tabs on yourself and make sure you don?t drift off. In those cases, it?s good to have a wife who’s been around since you were 19 years old. We share this whole journey together.
Do you drift off?
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I?m very ?floaty?, but regarding this specifically, I’m rather hardened. As a musician, I could have an endless supply of groupies. It’s a drawback that comes with the job. Bu? it doesn?t feel too attractive, actually. Having sex with a bunch of women is something that attracts me, both me and Johanna knows that, but the thing that holds me back is that I’d never want to lose Johanna for anything like that.
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When you have people worshipping you, I think you need a certain kind of mentality not to lose yourself to the whole thing. When we were in South America, we spend four hours straight signing autographs. A week later, I was home in Barva, signing my autograph at Ica Ekängen [grocery store] for the credit card transaction. I’ve always been good at seeing and appreciating the absurdness in those contrasts. But I’m “floaty” and flighty in other ways. Creatively, I drift off. I’m a restless person. That’s where you get to pay the price of having a family.
Did you hire an au pair on account of the touring?
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Yes, when I?m away for several weeks, it?s not possible any other way. Johanna works for P4 Sörmland [radio station] and our children attend a Waldorf pre-school with breaks and short days. Our relatives and friends have helped out, but there?s a limit to how much you can ask for. Leaving this autumn will get really tough. Nimh has also reached an age where he’s very sensitive. We noticed this just now when we were at the hospital for a few days. It was a premonition of the difficulties to come. In part for my own sake, because I want to be here all the time, but especially for them. Several times lately, I?ve heard celebrities who leave their families for extended period say that children don?t have any sense of time. Sure, that might be true, but it?s in the other direction. A week feels like an eternity when you?re little. If I?m away for five weeks, it has to be like a whole year for them.
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I don?t look forward to going, actually. Now with Morris, as well, it?s like ?oh, crap, that?s tough?? It seems we won’t have to think about much more than any other baby, but it still feels worse leaving Johanna alone with three small children. The positive side of things is that this has brought us closer together in remarkable way. Hopefully, we can maintain that connection even when I’m away.
When their record label, SPV, went bankrupt in 2009, Daniel Gildenlöw desperately tried to save Pain of Salvation?s US tour.
- Sometimes I wish I could just give things up, he says. It?s one of the hardest things for me to do. If I have two bad alternatives, I always try to find a third. It was an extremely strange experience, when it all crashed. We were short many hundreds of thousands of crowns [tens of thousands of dollars]. I contacted the trustee, made daily calls to the record company, contacted banks, and pushed and pushed? but in the end, it didn?t work out, anyway. We were screwed. It was a new type of feeling, and a rather liberating one, at that. All I could do was to accept it.
The tour would?ve been his first visit to the US in five years. In the spring of 2005, he opposed the use of fingerprinting as an entry requirement by not going. The news spread as he pulled out of a planned trip with The Flower Kings. In January of 2009, Pain of Salvation showed their support for Barack Obama by cancelling this protest. By then, they had turned down three major US tours.
- I didn?t fool myself thinking it would change world politics, but it was about the same thing as many other times: if everyone were to show what they really felt about an issue, it would be gone the next day. I have to do what I believe in, and hope that others will do the same.
Where do you find the strength to maintain that courage, without seeing the pettiness of it?
- I think it?s a matter of seeing what?s right and wrong. If I do right, maybe it won’t make any difference. If I do wrong, maybe that won’t make any difference either, but I’ll feel worse. It’s difficult for me to go against my principles. I don’t know if it?s something I actually choose to do, but rather something I must. There are so many people who believe in one thing, but act differently, thinking that everyone does the same thing, anyway. Just look at any garbage can. If someone starts throwing trash on the ground around it, others will join in.
Daniel Gildenlöw belongs to that group of people who can say that “everything is politics” without making it sound like a cliché. Many of his answers are angled towards some larger, societal issue. If he were a character in a novel, his expositions would sound most authentic from the mouth of a politically passionate teenager.
- I feel like Sweden has degraded itself a lot in the last 20 years, he says. It?s dirtier, it?s more hostile towards immigrants, it?s privatized to Hell, and we’ve got much, much larger class differences compared to the Sweden I grew up in. We’ve simply turned more similar to the rest of the world. I absolutely hate that we’re trying to sell off everything for private interests. It’s insane. We’re building an American model, and we know that it doesn’t work well. It works for some, but for the people. You end up with great divides, and then you get a rocky societal foundation, and then you get more violence, and then you get more police units, less mobility, and it turns into a downward spiral that leads to greater poverty and crime rates. Nobody wants it like that, including the poor and the criminals. It?s just dumb.
You?ve never considered a career in politics?
- Sure, but how do you do that? I feel tempted sometimes, but in general, Swedes of today believe that they hate politicians. The haven?t understood that it?s party politics that they hate, and that politics is what they do every day when they choose this before that in the grocery store. It all comes together to shape the society we live in. So I suppose it’s better to try and get your visions across as a private person, rather than a politician.
Do you find life easy?
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God, no, it’s tough. It?s complicated. Everyone with a bit of complexity will one day get depressed and feel like life isn?t worth living. Of course, I?ve felt this a couple of times, but I?ve always got a curious Me thinking that I’ll still end up dying one day, anyway. There’s life and then there’s non-life. Might as well get as much out of life as possible, regardless of quality. Non-life will be waiting. There?s no need to rush it.
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Life is interesting in all phases. There?s always something you can gain from it, even when you can’t see it. I hope I don’t sit here 20 years from now, thinking “such silly, naive words,” but I sincerely believe that. You can have your philosophy, and know that you might not always have the energy or strength to stick to it in certain situations. Life is tough, but every second is worth living. I stick to that. Regardless if a future Me might claim the opposite, I maintain that I’m in the right and he?s in the wrong.[/SPOILER]
Daniel Gildenlöw vs Proust
[SPOILER]
Author Marcel Proust (1871?1922) many times answered a list of personal questions. It has come to be known as "The Proust Questionnaire.? SRM asks Daniel Gildenlöw ten of them.
Your chief characteristic
- People say I?m tolerant and patient. I?m very ambivalent. The older I get, the harder it is to make a decision. I?m a perfectionist med a taste for the crooked and faulty. I don?t want order, but perfect disorder.
What you hate the most
- Stupid people. There are a lot of behaviours worthy of hating, but they all express the same kind of stupidity. Like, when all family parking spaces at the grocery store are taken. If you look at the kinds of people occupying them, it?s 70 per cent single men in their 40s or 50s, with a relatively new Volvo V70 eller BMW. It’s a very basic form of thinking that leads to big golden parachutes and self-set paychecks.
Your favourite world history characters
- The people who decided to measure Earth?s circumference by walking between two meridians with a one mile long chain. Once they had arrived, another method had been discovered, and the measurement had already been made. It had taken them eight years, or something like that.
Your heroes in real life
- Cartoonists Jan and Maria Berglin. They express a lot of my thoughts about the world. Tage Danielsson and Astrid Lindgren are two other heroes of mine. You might think that you have to attend a Salt March to become a hero, but it’s enough to reach out and touch people. That’s where you create new generations and affect the way people relate to reality. It makes all the difference in the world.
Your favourite authors
- One of the best books I’ve read is "Waiting for the Barbarians? by J.M. Coetzee, but I can?t say that he?s my favourite author. Same thing with Carl Sagan and Douglas Coupland. I have to mention Douglas Adams, as well. When Shakespeare was good, he was awesome.
Your favourite poets
- Simon & Garfunkel. You can?t find much better poetry than that. Insanely good lyrics. So simple and fantastically complex at the same time. An absolute leading star when it comes to writing lyrics.
Your favourite musicians
- In many ways, the other members of Pain of Salvation. I also have a soft spot for The Beatles. Paul McCartney did some truly great things on bass. I actually think that Gene Simmons was really good at that, as well, adding little details that made a simple groove great instead of bad. I appreciate musicians who can shine in the shadows. I have lots of favourites that I don’t know the names of.
Your favourite virtue
- Straight-shooting. Maybe because I find it so difficult myself. I try to consider people’s feelings to a point where it almost becomes wrong. In general, tolerance is absolutely necessary.
Where would you like to live?
- I?ve asked myself that question many times. I can imagine living in New York at intervals. It’s a lot quieter than movies make it seem. As for Swedish cities, there’s no great difference. Stockholm is too small to be considered a big city. Then it?s better to head out into the more rural areas, and in that case, Dalarna is at the top of my list. Purely scenery wise, I like it a lot there.
Your favourite motto
- I?ve had a few. Where I?m at right now: ?Don?t do what you want to do ? do what you dare to do.? Or ?do what you don?t dare to do? might be better. You have to expose yourself to things. I?ve had a period of a couple of years where I?ve exposed myself to things I?ve found very difficult. And it feels great after. I?ve used the same motto for the new album, too, being brave in all my decisions.[/SPOILER]
part road salt
[SPOILER]?Road Salt Two?
Daniel Gildenlöw were supposed to take a week?s leave from Pain of Salvation. That?s when he finished a fourth of the band?s eighth studio album, ?Road Salt Two.?
- I had been so deeply involved in this for so long and felt like I had to spend a couple of days making music that was just fun, he says. During that time, I wrote, recorded, and pretty much finished mixing ?1979?, ?To the Shoreline? and ?Through the Distance.? They are three of my absolute favourite songs on the record. But I don?t think they would?ve come to me had I not entered that state of mind. Things you do quickly and intuitively are given an air of ease. Not that they come across as easy-going, but there?s not as much internal friction in them.
Through his lyrics, Daniel Gildenlöw has gone from, in his own words, depicting “the large in the small and the small in the large.” On “Entropia” (1997), “One Hour by the Concrete Lake” (1998), “BE” (2004), and “Scarsick” (2007) people are watched through a global context, exploring anything from environmental issues to spirituality. Now he?s back on the same level as “The Perfect Element, Part 1” (2000) and “Remedy Lane” (2002).
- The storylines move at a relationship based individual plane, but they are used as a magnifying glass to look at societal issues at large. A good example is ?Through the Distance.? I look at the similarity to loving your first love from a distance, not knowing how to deal with those kinds of feelings for another person. And that?s how we all live today. We find it difficult to reach out. We need to bring people closer to each other again. It seems very important, especially in times when everything tends to become institutionalized. You forget about the important, personal relationships. We render effectivity more effective, and by doing so, dilute it, because there’s something effective about working together, as well [sorry, this sentence is difficult to translate… basically just saying that things become less effective the more we try to render them more so].
?Road Salt One? was released in 2010, riding the wave of the title track?s exposure through the Eurovision Song Contest. As he talks about it and ?Road Salt Two?, it?s the sound that he lingers at the longest.
- They both have deep roots in the 70s. Had the sound ideal evolved properly from the 70s, this would?ve been a completely natural, contemporary sound. Very dry, very intimate, but with a kind of power that didn?t exist at that time.
One aim has been asymmetry; a contrast to the compact, grand wall that he feels has become the ?standard solution for a rock sound.? He has searched for a sound environment where ?the musical performances get free space.?
- Content wise, it?s all over the place. From accessibility and mainstream to wishy-washy 60s sounds. Some country and some folk music. There are traces of all different traditions of music, but they’re all connected by some sort of basic idea.
What is that idea?
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Like a painter/artist, I want to master all techniques, without actually having to use them. I want to be able to do everything, so that when I choose a certain expression, it’s not because I don’t know how to do anything else. When we play something simple, choppy and shabby in 4/4 time signature à la Ringo Starr, it?s because that?s what we want to do.
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The latest albums are in many ways the most complex we’ve done, but they might seem simpler on the surface. That’s where I want to be. I want the fastest car, but I don?t want it to look ?pimped.? It should look smooth and subtle. The only thing I care about is having more horsepower under the hood than anyone else. Then we use them every now and then, whenever we need to.
This December, the Eskilstuna group will visit Stockholm and Gothenburg, opening for Opeth. Not to sneer at his colleagues, but Daniel Gildenlöw claims it?s not easy following Pain of Salvation.
- We do things most other musicians would have to stand still and concentrate very hard on, preferably sitting down, to do. We do it while jumping off of amplifiers. It feels good, because there’s an intellectualization about all music that’s complicated. That awakens the rebel in me. You have to perform physically, as well. The brain has to be there, but you mustn’t forget about the sweat and blood.[/SPOILER]
:papas::papas::papas::?
πειράζει που με τον daniel σε μερικά κομμάτια(πχ Iter Impius, inside out,Reconciliation,In the Flesh , Cribcaged, Where it hurts ,The Deeper Cut, σταματήστε-με-κάποιος… ) που υπάρχει μια φωνητική κορύφωση, οι αντιδράσεις μου ειναι μιας μικρής ρουβιτσας? και που δεν ντρέπομαι και καθόλου για αυτό??
[B][I]Now she stays on the ground
So she’ll never fall[/I][/B]
λέει ο θεος ρε γαμώτο.
τι να πειραξει;φασολαδα ειναι;
δεν θυμαμαι αν ειχαν μπει.
[B]Pain Of Salvation - 1979[/B]
[B]Through The Distance[/B]
δεν εχουν μπει εδω αν θυμαμαι καλα,αν και ειχαν βγει στην επιφανεια λιγο καιρο πριν κυκλοφορησει το RS2 και τα ειχα λιωσει σε αναμονη του δισκου…
Τα τελευταια νεα αφορουν το ανοιγμα επισημου online store…Για την ωρα δεν εχει και τοσα πολλα αλλα εχει ενδιαφερον να αναφερθει η edited edition του Scarsick για download…
2008 edited version of scarsick, with alternative edits of all songs and two extra new tracks.
Daniel: “I had this idea about making edits where all of the songs would clock in under 5 minutes each. My absolute first idea was to make a radio edit version of the album, where every song would simply be cut at precisely 3:50 or something, except for the track America, in which we instead would add like 10 minutes of commercials after the “We’ll be back after this short break!” phrase. But once I was sitting down with the tracks it became sort of a challenge. Some of the songs I prefer in the original version, but some (like Idiocracy and Mrs Modern Mother Mary for instance) really turned out more like I initially intended them to be, and I prefer them. Also, I could use my original idea for an intro to the album - it was scrapped for the official release since I felt it gave away the TPE1 link way too soon. The Slipsync track uses recurring themes, a trademark POS conceptual instrumental passage, and was originally thought as a Japanese bonus track, but then it felt more right on this edited album version, called SCARSICKER.”
The download folder also contains the alternative front cover that was considered for the scarsick album.
Daniel: "It was touch-and-go which cover we would use. In the end I went with the darker version that goes well with the second half of the album, but many times I wish I would have chosen this one instead - more alternative and in line with the first half of the album. The SCARSICKER edition is perfect for this alternative front cover though, so here it is! By the way, we are really making that high jump - no cheating in Photoshop there. Lars was standing at the bottom of a huge sandpit, and zoomed us in as we were jumping as high as we could off the edge, some twenty meters up. We landed several meters down in the sloping sand, and there was blood and pain - and lots of laughter.
Track listing:
- nausea (0:25) NEW TRACK
- scarsick (4:38 ) original was (7:08 )
- spitfall (4:56) original was (7:17)
- cribcaged (4:26) original was (5:56)
- america (3:39) original was (5:05)
- disco queen (4:11) original was (8:22)
- kingdom of loss (4:38 ) original was (6:41)
- mrs modern mother mary (3:52) original was (4:14)
- idiocracy (4:52) original was (7:04)
- flame to the moth (4:55) original was (5:58 )
- slipsync (1:07) NEW TRACK
- enter rain (9:52) original was (10:03)
Total Running Time: 51:35
!! ενω είδα το store χθες…(ενα - δυο πράγματα με ψήνουν), αυτό για το scarsick δεν το είδα(άσχετα αν δεν ειναι στην ουσία ολόκληρα τραγούδια τα 2 Bonus)!
να δούμε τι κόψιμο τους έκανε. ειδικά το disco queen που μειώθηκε στη μισή διάρκεια.
κατά τα άλλα διασκάρα το scarsick για μένα
μεταβατική δισκαρα για μένα… εχει διάφορα αγαπημένα κομμάτια, μέσα, αλλά νομίζω οτι οι 2 συνέχειες μετα ηταν πιο στοχευμενες.,
εγώ αυτές τις κινήσεις τις φοβάμαι και τις αποδοκιμάζω. γιατί να κόψεις τα κομμάτια σου, ποιος ο λόγος να τα κάνεις radio friendly. στο disco queen που το έκανε μισό ας πούμε, θα λείπει εκείνο το μεσαίο-ήρεμο μέρος; μα εκεί είναι όλη η ουσία, “a moment’s silence and you’re filled up, yet emptier than before”.
δεν ξέρω τι να πω, πρώτα ήταν η νέα εκδοχή του undertow, μετά το 12:5, μετά το clean (να δούμε πότε θα βγει κι αυτό), τώρα το scarsicker, τόσο ανικανοποίητος πια με τα ίδια του τα τραγούδια; να δω κάνα “perfect element ptI - the acoustic edition” να αυτοκτονήσω.
και εννοείται δισκάρα το scarsick.
edit, όσο κι αν έλειπε τόσο καιρό ένα pos store, ε με 32 ευρώ το photo book και 22 τα μπλουζάκια δεν πας πουθενά.
θα μπορούσε να επενδύσει τη δημιουργικότητά του στην παραγωγή νέων κομματιών. βέβαια καλύτερα να μη μιλάω πρωτού ακούσω τα radio edit αλλά όσο να ναι μισά θα μείνουν τα κομμάτια.
ναι το παρατήρησα και εγώ ότι είναι ακριβά.
Το πρώτο πράγμα που παρατήρησα κι εγώ είναι πως είναι πανάκριβο.
Τα t-shirt αυτά ήταν πολύ πιο φθηνά στις συναυλίες και όταν ήταν διαθέσιμα μέσω του CM distro.
Επίσης, για κάποιο λόγο έχω ένα “Scarsicker” εδώ και αρκετό καιρό. Το άκουσα από περιέργεια, δε μου έκανε καμια εντύπωση και δεν το ξανάκουσα. Τέλος, το ότι διαφημίζει πως έχει 2 επιπλέον τραγούδια είναι ΑΣΤΕΙΟ.
Βασικά, κάτι δεν μου αρέσει σε όλο αυτό το σκηνικό κι εμένα.
Κατάλαβα.
Καλύτερα να έκαναν κενένα δίσκο με διασκευές…
αυτό όντως θα είχε πολύ ενδιαφέρον, πεθαίνω να ακούσω το winter της amos από τον gildenlow
πήγα να παραγγείλω τη λευκή road salt και την nauticus, και οκ ρε μαλάκες, 29ευρώ λέει μεταφορικά για Ελλάδα. δε γαμιέστε λέω εγώ