The much anticipated acoustic album by Sweden’s progressive rock innovators Pain of Salvation. Contains reimagined versions of favourite catalogue-songs, two special cover versions (‘Holy Diver’ by Dio and ‘Perfect Day’ by Lou Reed) and a brand new song (‘Falling Home’).

"We thought this album would be a walk in the park, but it turns out that nothing about PAIN OF SALVATION will ever be that way. Uphill is sort of our default way of travelling."

So says Daniel Gildenlöw from PAIN OF SALVATION when discussing the band's new release, “Falling Home”. As the frontman, founder, brainchild and heartbeat of arguably the most unique progressive rock bands on the planet, Gildenlöw has always had very definite ideas of where he wants to take PAIN OF SALVATION and their music from album to album, and this time was no exception. He's also used to the fact that what looks or sounds easy on paper or in his head isn't always the case when the band finally gets down to work. Again, this time was no exception.

With eight studio albums under their collective belt since 1997, PAIN OF SALVATION cemented their reputation as an untouchable creative entity long ago. And while most of their records have been concept-oriented - tackling subjects such as the journey from childhood to adulthood (“The Perfect Element Part 1”), an autobiographical relationship in crisis (“Remedy Lane”), the facets of human existence (“BE”) or society (“Scarsick”) - the band isn't beyond focusing on the music for music's sake. Gildenlöw considers “Falling Home” a worthy follow-up to their 2004 live album, “12:5”, inspired as they were by a surprise offer to play an acoustic show in Germany in 2012.

"I was thinking that it would be great for the fans while they wait for the next studio album if we recorded the gig," says Gildenlöw. "It was a perfectly good plan but the recording didn't work out; it was never recorded. But, of course, the idea was there and it was impossible to let it go. My next idea was very simple; bring the recording equipment to the rehearsal room, play the songs through and record it as if it were a live performance. We had a good time rearranging everything, but it's been a real challenge all the way through."

Considering how much effort has gone into making “Falling Home”, Gildenlöw readily admits from a practical point of view that PAIN OF SALVATION may as well have made a new studio album instead. In the end he doesn't regret the decision to go ahead with this project, however, because he's come to care very deeply for these new reimagined acoustic versions of some of their favourite songs in the PAIN OF SALVATION catalogue, as well as two special cover versions (Dio’s ‘Holy Diver’ and Lou Reed’s ‘Perfect Day’) and a brand new song (The title track, ‘Falling Home’).

"I had ideas for songs that I'd been longing to do acoustically for a long time, because some songs just stayed with me all this time. When we did “12:5” I always had this feeling that I wanted to do 'Leaving Entropia', for example; somehow I always felt that I had unfinished business with that song. I wanted to give it another shot because I was never totally satisfied with how it turned out originally. I think in most cases - at least for right now - I prefer these new versions to the original versions. Part of the reason for that is probably because this is where I'm at right now."

Over the course of their career, PAIN OF SALVATION have re-defined the term "epic." There are varying shades of bombast or complexity on their studio albums, but with “Falling Home” the band proves they can still be larger than life without choking the listener with monstrous song arrangements or schizophrenic off-time noodling for the sake of the spotlight. The new album is yet another form of epic presented with PAIN OF SALVATION standards.

"I've definitely tried to dial down on the bombastic and the complexity this time," Gildenlöw admits. "But, for me it's still all about refining every little detail. One of my mottos has always been that I want to hide the machinery under the hood, so to speak. I've always wanted PAIN OF SALVATION to be the fastest car in town, knowing that we can stop at any red light and know that there's no competition when it turns green. But, at the same time I still want the car to look nice and normal. I don’t want the car to have neon lights or a huge vent sticking out of the hood. I just want to know that we can win any race we want. "