If you are a fan of progressive metal but also of progressive rock, 'Kristoffer Gildenlöw' must not be unknown to you, since he became known with his brother 'Daniel' in the 90s when they created together 'Pain Of Salvation' which he left in the mid-2000s to embark on different projects, first of all joining the progressive rock band in 2006 'Dial', then starting a solo career while participating in numerous projects (including 'Kayak'). For more than ten years now, he offers us sumptuous albums including the latest 'Let Me Be a Ghost' which gave me immense pleasure. 'Empty' is therefore his 5th solo album, solo because it bears his name, but many guests come to accompany him, including very good guitarists.
And after a first listen, it is this parallel with the 'Floyds' that struck me the most in this album, as if the two thieves 'Roger Waters' and 'David Gilmour' had reconciled, the refined and contained side of Kristoffer's vocals looking towards 'Roger Waters' and the instrumental sections with sumptuous guitar solos flirting with the feeling of 'David Gilmour'. 'Time To Turn The Page', which begins the album, is the perfect illustration of this with an atmospheric first part on which 'Kristoffer Gildenlöw' places his fragile and refined vocals bathed in reverb and which explodes halfway through with a masterful guitar solo, the finale falling into a few gentle arpeggios. The suite continues in this atmosphere with 'End Of The Road' embellished by strings in the quiet parts and continues at a slow tempo on which we completely abandon ourselves, then, 'Harbinger of Sorrow', introduced by a repetitive phrase played on the piano takes us into alternations of intensities, 'Kristoffer Gildenlöw' modulating his singing in a very beautiful way with remarkable incursions into the high notes. As for 'He's Not Me', introduced by a 'Floydian' guitar, extends these moments filled with sensitivity with a new melodic jewel which moves slowly between sung parts and 'Gilmourian' instrumental sections. With 'Black And White', the hushed introduction is once again synonymous with tranquility which makes us continue our beautiful journey with a deep and emotion-filled singing of 'Kristoffer Gildenlöw' and a guitar solo which, this time, makes me think of the sounds of 'Mark Knopfler', then, 'Down We Go' raises the emotional slider again with a long composition on a magnificent slow crescendo, 'Kristoffer Gildenlöw' having completely reconciled 'Gilmour' and 'Waters' on this title overflowing an extraordinary quiet force, the final guitar solo giving me goosebumps and making this track my favourite of the album. We are not at the end of our emotions because the second part of the album also offers us very beautiful compositions, first of all with 'Turn It All Around' and its soothing guitar arpeggios, the rest bringing a certain melodic modernity, then, 'Means To An End' extends our gentle journey on a nonchalant rhythm, the melodic lines being of great beauty. Follows 'Beautiful Decay' in the same atmosphere as its predecessor, the piano accompaniment bringing this melancholic refrain side to a three-beat tempo, then, still at a slow tempo, 'The Brittle Man' is a fairly short track which begins in a bass/voice duet and which then sees the arrival of a violin which is joined by a piano forming a very beautiful crescendo. More rhythmic, 'Saturated' highlights superb vocal harmonies, very beautiful choirs accompanying the singing of 'Kristoffer Gildenlöw' on a catchy melody. We arrive at the end of our very beautiful journey with the title song which is close to 10 minutes and whose first 2 minutes set a scene made of sound effects which gradually gain momentum and which are followed by a very refined section with 'Floydian' sounds, the tormented singing of 'Kristoffer Gildenlöw' making me think of that of 'Roger Waters', then, at 6:30, the title explodes in a guitar solo of poignant emotional force which slowly builds in power to come back to the end in fade out: simply sublime!!
In summary, as you will have understood, this 2024 album could very well have been one of the best 'Pink Floyd' albums but it is the work of a talented artist who is certainly releasing one of his best albums by offering us this 'Empty' which should please, beyond fans of 'Kristoffer Gildenlöw', a fairly wide audience who like atmospheric progressive rock taking us back to the 70s with, icing on the cake, catchy melodies which are easily tamed... | |
