Best of Opeth

So we are finally done with the marvelous discography of Opeth, and it has certainly been a fantastic journey through the twists and turns of an amazing career. Despite several member changes and style changes throughout the years, there have always been two constants for the band, one being Mikael Åkerfeldt, and the second being the impressive quality that comes with every new release. No matter what direction the band has taken, it has always felt so natural to them to follow that way, to seamlessly go from black and death metal, to straight up rock. The best part about it all is that we are not nearing the end, that we have several more years of Opeth ahead of us were anything could happen, an unknown future that is very exciting to follow.

They have definitely earned the title as one of the greatest influences in the progressive metal scene, but let us now summarize this fantastic career, and take a look at the best the band has to offer.

Best albums

3. Still Life

I kind of wished Opeth would do more concept records, because they are pretty damn good at it, with "Still Life" as the true evidence of that. The darkness of the concept is perfectly expressed in the album, with every melody matching the lyrics really well, creating an atmosphere that is complete magic all around. It is a great experience, and a perfect warm up to...

2. Blackwater Park

To many, "Blackwater Park" is considered to be THE Opeth record, and I can definitely see why. This album is incredibly well made from start to finish, taking what the band had done up to this point and refining it even further, very close to complete perfection. This album has everything you would expect from a band like this, crispy clear production, crushing bits that hits you harder than a punch from Tyson, and sweeping melodies that break it up perfectly. It is truly an accomplishment, but somehow, it is not the band's magnum Opeth.

1. Ghost Reveries

I fucking love this album, I really do not need to write anything else. Okay, if I must write something to explain why it is my number one, it is because of the haunting atmosphere that goes through the entire record, that bone chilling mood that is unlike anything else I have heard. Add to its some killer tracks and a band that is at the top of its game, then you get a horrific master piece that is one of the finest progressive metal records you will ever come across.

Worst album

Orchid

It feels so wrong to call any Opeth record as the worst, because none of them are truly bad. There were a couple of candidates, but ultimately, I ended up with the debut record. It is a nice debut, but it is very rough around the edges, and the production is dark as hell itself. It still sounds like Opeth, but it is obvious that it was at an early stage, not fully developed yet. So yeah, not a bad album by any means, but it is clearly inferior compared to its brethren.

Best songs

10. Godhead's Lament
Some mighty fine acoustic work in here.

9. The Leper Affinity
A brilliant opener to a brilliant album.

8. Chrysalis
My absolute favourite from the current era.

7. The Drapery Falls
The grip from the darkness is not letting me go at all.

6. The Funeral Portrait
So much groove in such a dark song, that should not be possible.

5. Demon of The Fall
That eerie ending gives me tons of chills.

4. Deliverance
God, I love that unorthodox rhythm, catchy as hell, just wont leave my brain!

3. The Grand Conjuration
Does not get much mightier than this, beefiest of Opeth beef that ever beefed.

2. Heir Apparent
Man, you never know what will hit you in this one. A close to 9 minutes of mind abuse that ends in complete bliss.

1. Ghost of Perdition
The song that got me into Opeth in the first place, and it still has not lost its charm. As close to perfection as you can get.

Best album cover

Heritage

If we only went by looks, I probably would have given the win to "Sorceress", but I absolutely love that the cover of "Heritage" tells a story, and is also a statement by the band. The roots represent the band's death metal past, and the fruit of the tree is the face of each band member, with past members represented as skulls that have fallen off (so Mikael killed them?). It is a painting that has several nice details, definitely worthy of putting under a microscope to scan every inch of this beautiful master piece.

Total discography verdict

Quality: 10/10
What can I really say here? None of the albums have gone under the 7 mark, never even been close to being considered as a bad record. Whenever Opeth unveils a new album, you can be sure that it contains some fantastic music.

Versatility: 9/10
The smooth evolution of this band has truly shown how versatile they can be, while still maintaining their own trademark sound. It makes every new album exciting, because you never truly know what you are gonna get.

Band Chemistry: 6/10
Yeah, most of us would agree that Mikael Åkerfeldt is the Lemmy Kilmister of Opeth, there would not be a band without him, yet Mikael does make sure that the other guys are an important part of the band. Too many changes over the years for my taste, otherwise it is not that bad.

Influence: 10/10
Opeth may not have been first, but they are certainly one of the biggest game changers in progressive metal. The addition of death metal has definitely inspired tons of other bands, such as BTBAM, Ne Obliviscaris, Leprous, and Persefone, creating a music scene that is extremely broad and exciting.

Lyrics: 8/10
It can be a little too confusing at times, but Opeth's lyrics are unlike any other band's, it is more like poetry really. It is all written with such beauty that it is kind of hard to imagine it fitting in a death metal setting, but it fits beautifully.

Album rating summary

Orchid: 7/10
Morningrise: 8/10
My Arms, Your Hearse: 9/10
Still Life: 9,5/10
Blackwater Park: 9,5/10
Deliverance: 7/10
Damnation: 7,5/10
Ghost Reveries: 10/10
Watershed: 8,5/10
Heritage: 7/10
Pale Communion: 9/10
Sorceress: 7,5/10

Average rating: 8,291666666666667/10

So which band is next? Well, how about we continue to tick off the Big 4 of thrash metal. We have done Megadeth and Slayer, so that leaves two bands, and I will not reveal which of them I will do next, so you have to wait and see which of these puppets the master will choose... fuck, I spoiled it didn't I?

Opeth - Heritage (2011)

So we have finally reached the most controversial Opeth album in our discography review series, an album that saw the band shift from their highly original blend of prog and death metal, to a more mellow rock sound. This is actually something Mikael and the rest of the band had wanted to attempt for some time (and kind of did already in "Damnation"), and critically, it actually got favorable reviews at the time of release, but the fans did not show any mercy, panning it for the complete lack of metal, claiming that the band sold out. But is this album really that awful, or was the change of style simply too much too handle for the Opeth lovers that forced them to go towards the other extreme of the spectrum?

Honestly, I was a part of the crowd that said "What kind of wimpy shit is this?" at the time of release, but looking back at it now, I realize two things. 1. I was a stupid young brat who did not know squat, and 2. I was easily persuaded by crowd majority. The fact of the matter is, I had not heard of any other Opeth record prior to "Heritage", so I did not have any valid argument to say that it was trash. Well, now I do, and after listening to the rest of the discography, I can honestly say that "Heritage"... is not that bad actually.

Let us start with the change of style, which is definitely different from what the band has done before, but it is not THAT different. As stated before, they kind of tinkered with the idea already in "Damnation", only that they put in some other moods and speeds in this album. Yes, it lacks all of the classic metal traits Opeth has (blast beats, harsh vocals, heavy guitars), but it still has that distinct Opeth sound, and that should really be enough for fans to enjoy "Heritage" really, but noooooooooo, they have to have that precious metal element too. Man, we fans are greedy bastards.

Besides, I think this change of style opens up new gateways for the band to express themselves, to expand into more unknown territory, sort of like the roots on the album artwork. However, I do not think Opeth takes full advantage of this opportunity, almost playing it safe actually. We certainly get enough prog for the price of admission, but I do not feel that sense of mystery that the band is so good at presenting, the thing that keeps you guessing throughout the album. Not saying that the album is predictable, but there is no part of the record I can point at and say "damn, I did not expect that". It still sounds alright, and the band does a good job in performance and production, but it just does not push its boundaries far enough.

Then we have the ultimate question, should we even consider "Heritage" as a metal record? Probably not, it is more like a Rush record, it is definitely rock, but with some heavier elements to it. There is definitely some heavier bits and pieces to be found here, and I definitely think that songs like "Famine", "The Lines In My Hand", and "The Devil's Orchard" could find a place in any other Opeth record and fit right in. It is the rock influence that rules this record though, with its melodic organs and Mikael's engaging voice as the main force behind it all, and it does a really nice job. It might still be a little bit underwhelming in most places, but you could definitely see "Heritage" as a prototype, as a first step to the new era of the band.

So yeah, looking back at it, I do not understand what all the fuzz was about. Yes, it is a shame that we lose the death metal aspect of the band's sound, but this is what 95% of highly successful bands do to stay relevant, evolve. "Heritage" definitely takes a brave step into the unknown, but it is not that humongous leap that everyone says it is. The reactions this album created are over exaggerated, and it hurt the album's reputation quite a bit. This is most certainly not a brilliant album, and it might be the Opeth album that could be considered the "worst", but it still has some charming qualities that should not be over looked, even if Mikael does not scream his lungs out.

Songs worthy of recognition: The Lines In My Hand, Slither, Famine

Rating: 7/10 Folklores

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Watershed
Pale Communion
Sorceress

Opeth - Watershed (2008)

If traveling back ten years to the past, one can only wonder how many Opeth fans would have believed you if you said that the then brand new record "Watershed" would be the last Opeth record with death metal elements to it. Just imagining their reactions, everything from laughter to pure despair, is just fun as hell. To be perfectly honest though, I am not sure even Mr. Åkerfeldt himself knew this would be the last "old school" Opeth record, even if he had mixed in a lot of more calmer rock elements to his band. Is this truly a final hurrah to the heavier side of the band, or just another high quality piece of art?

It certainly starts very calmly with "Coil", where Mikael not only get some help from the new members, guitarist Fredrik Åkesson and drummer Martin Axenrot, but also from the latter's current girlfriend Nathalie Lorichs, who gives a helping voice. It is an atmospheric start to the album that is certainly welcoming, but that all changes when "Heir Apperent" attacks. This is the exact opposite, a heavy and dark track that oozes of early Opeth, crushing you with some of the heaviest parts you have ever heard from the band. It is an instant classic that definitely sets the bar for the rest of the tracks.

Those two opening tracks do represent what I think is the strength of "Watershed", the contrasts. Most of the album is fairly calm and collected, but when you least expect it, Opeth smacks you in the face with a blast beat or a monster riff. This album is playing with you, leading you somewhere, just to suddenly swing you around and go in another direction. It never stays still, evolving into different shapes that are stranger and stranger. You might be sitting there, enjoying some quality metal, when suddenly it transforms into something more rock oriented. This makes "Watershed" one of the most versatile Opeth albums to this date, but it is not always a good thing, because it does feel a little disjointed at times, not following that red line.

Fortunately, there is a lot of quality music that you can enjoy to distract you from the fact that "Watershed" might have a pretty schizophrenic personality. All of the seven songs in here has something to offer, whether it be the the pure brutality of "Heir Apparent", the harmonies of "Porcelain Heart", the oriental vibes of "Hex Omega", or the beauty of "Coil". All songs (except for "Coil") are quite lengthy too, so there is a lot to discover in this album even if it only contains seven tracks, which is just great for your replay experience.

Also, may I recommend that you all pick up the special version of this album, because it does have some good stuff to offer too. The bonus track "Derelict Herds" has a strange guitar tone to it that makes it so intriguing, and also some really nice rhythms too. The two covers (Robin Trower's "Bridge of Sighs" and Marie Fredriksson's "Den Ständiga Resan") are also really neat, showing even more sides of the band.

While this album might be a little to uncohesive for some people, I just find that the quality of the craft outweighs its differences. "Watershed" impresses on so many level that it can make your head spin if you try to get it all in, but it certainly makes every listen exciting, because you might find a new favourite time and time again. It has killer track, great production, and impeccable performances, what more could you really ask for? Okay, maybe one or two of the songs in here could be more refined to stand out more, but that is basically it, "Watershed" is a brilliant record, which makes it even sadder that this was the final stand of Opeth's origin, before being left in the shadows for (probably) all eternity.

Songs worthy of recognition: Heir Apparent, The Lotus Eater, Porcelain Heart, Hex Omega

Rating: 8,5/10 Coils

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Heritage
Pale Communion
Sorceress

Opeth - Ghost Reveries (2005)

In the Opeth discography, "Blackwater Park" is generally seen as the band's highlight, their grand masterpiece that they can never recreate, no matter how many times they try. Well, I am not one of those who think that, because to me, that effervescent masterpiece is "Ghost Reveries". The 2005 release has always had a special place in my metal heart, combining everything that makes Opeth so good into an atmospheric experience that few bands can match. When it comes to brilliant Opeth music, no other album can reach this level of quality.

It all starts with the opening track "Ghost of Perdition", probably my favourite Opeth song of all time, and I am not saying that only because it was extremely fun to play on Rock Band (that drum chart is simply marvelous). This 10 and a half minute track has an impeccable flow to it, sweeping through the heavy and the atmospheric, while also giving every instrument and band member enough room to shine, displaying every strength that this fantastic band possesses. And that ending, THAT ENDING, just damn.

So obviously, the album goes downhill from there, but not as much as you would think. Sure, there is no song after that has the same, gut wrenching punch to it, but the rest of the tracks on "Ghost Reveries" helps a lot in establishing the spooky character of the record. The album was first meant to be a concept record about the occult and evil in general, but that idea was scrapped when Mikael wrote some songs that did not really fit in lyrically, but he simply could not leave out of the record. This album still have a lot of these dark themes in it that does make the album cohesive, they just do not have a red line that goes through them all.

The biggest strength of the album is without a doubt the smooth flow that courses through your ears with the easiest ease that has ever eased. While the length of the record might seem kind of daunting (1 hour and 6 minutes), it certainly does not feel like it is that long. It is very easy to just lose yourself into the record, drowning in its never ending ocean of sweeping melodies, mixed vocal work, and sudden hits of crushing riffs. You almost reach some sort of metal nirvana, just enjoying the hell out of every second that has been put into this disc.

Song wise, Opeth certainly has had a stronger line up, but because they all fit together so god damn well, it really does not matter all that much how they are individually. Of course we have the juggernaut "Ghost of Perdition" as the front runner, but a good second can be found in "The Grand Conjuration", a song that is just playing with you, throwing some odd, simplistic riffs here and there, mixing in some strange and evil whispers to make you uncomfortable, but interested. The other two giants of the record ("The Baying of The Hounds" and "Reverie/Harlequin Forest") are also really cool songs, really showing that Opeth has truly mastered the art of making 10+ minute songs close to perfection, and while those tracks that are under 10 minutes are not bad in any way shape or form, they do take more of a side role in the album, still contributing good things though.

Yep, there is no question here as far as I see it, "Ghost Reveries" is Opeth's magnum opus (magnum Opeth?), an album that just feels complete in every sense of the word, while actually not being it. Sure, it would have been fun if they would have fulfilled the concept, and the individual quality is not the best, but the complete picture of this album is simply awe inspiring. It is 1+ hour of Opeth candy that will leave your ears with new holes, but it is totally worth it. So while I do understand why most people see "Blackwater Park" as the best by the band, I say to them that they have not listened to "Ghost Reveries" enough, the true Opeth masterpiece.

Songs worthy of recognition: Ghost of Perdition, The Baying of The Hounds, Reverie/Harlequin Forest, The Grand Conjuration

Rating: 10/10 Hours of Wealth

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Damnation
Watershed
Heritage
Pale Communion
Sorceress

Opeth - Damnation (2003)

5 months after the release of "Deliverance", Opeth unveiled the second half of their epic double trouble pack, the Yin that would match the Yang, the twin brother that came in second place out of the mother, the... you get the point. "Damnation" is the other half of the recordings from 2002, showing off the calmer side of the band. Gone are all the harsh vocals, the distorted guitars, and the aggressive beats, all that is left is an (close to fully) acoustic ensemble that plays 70's inspired rock. You could say this album was "Heritage" before "Heritage", exposing the common Opeth fan to something different, maybe even uncomfortable.

To make this album work as an Opeth release, everything has to be nailed perfectly, and it all starts with the production. Together with the band's main man Mikael Åkerfeldt, we got help from Steven Wilson, whom we all know from Porcupine Tree, his solo project, and a bunch of other bands. Steven is the perfect man for the job in my opinion, because since he also loves 70's prog rock, he knows how to make a compelling record that would also speak to the metal crowd. Mikael and Steven is certainly a match made in progressive heaven, a duo that could make some special magic happen.

And there is certainly magic in here, some smooth, mellow magic. The band goes seamlessly from song to song in its own tempo, taking their time to develop every melody into something great. While it is all rooted into the 70's, it still has that touch of modern Opeth that keeps it from being out of touch. It actually got a lot in common with "Morningrise", except for the obvious bits that we have already discussed about.

One thing that I think "Damnation" does better than "Deliverance" is featuring Mikael Åkerfeldt and his wonderful vocals, and I guess it could be because this music fits his clean vocals extremely well, but it is also because he gets much more room to work with here. With very minimal instrumentation in play, Mikael takes over and guides us through this journey, calmly leading us to a secure place. It is a comforting voice, one that you can trust in any weather.

But as you would expect from an album like this, it does get kind of boring after a while, since all of the songs have sort of the same tempo and mood. It is certainly a record that you could fall asleep to if you listen to it in the middle of the night. However, the boredom never becomes a chore, it is not like I want to skip any track and simply give up, it is more like "this part is not very exciting, but let us see what they can offer next". The hypnotizing vocals and the fine tuned guitar playing helps in keeping your concentration levels at reasonable heights, continuing to amaze with its delicate techniques.

So yeah, "Damnation" might not be the most exciting Opeth album out there, but it is still one with several good qualities, a different experience that works perfectly as the counter part of "Deliverance". It is easy to see that those two were recorded at the same time, and they certainly make a great double feature when listened to back to back. I do find this one as the superior album, because it tries new stuff, while still having that Opeth style that we all know and love. It is a special little album that stands out in the discography, and while it still has some way up towards the highest of levels, it sits nicely as a pleasant break from the madness. Simply marvelous.

Songs worthy of recognition: Death Whispered A Lullaby, In My Time of Need, To Rid The Disease

Rating: 7,5/10 Windowpanes

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Opeth - Deliverance (2002)

With the success that "Blackwater Park" produced, Opeth was obviously on a roll, and the band made sure to keep up with the momentum. To do so, the Swedes opted to quickly enter Studio Fredman once again, this time to make a double album release, something that their current record company, peaceville records, was not willing to do. So it became a compromise, the double album was split into two separate records that were released 5 months apart, both being recorded at the same time.

We will eventually get into the twin brother "Damnation", but first up was "Deliverance", a pretty sensible follow up to "Blackwater Park" that saw the band continuing with their unique style of progressive metal. This album focused on the long version of the band, containing only six songs, and all of them (except for a small instrumental titled "For Absent Friends") were over the ten minute mark, making "Deliverance" pretty meaty with a solid run time of just over an hour.

This album is also one of the band's heavier efforts, almost completely ignoring their rock influences that has become such a vital part for them. It is kind of a risky move that surely makes this and "Damnation" a nice double dipper in a long listening session, but on its own, it becomes a little stale. Not to say that this album is a complete waste, the quality is surely there, and it definitely sounds like Opeth from start to finish, but it just does not have that gut wrenching punch that normally turns a good Opeth record into a magnificent one.

As said though, there is still a lot to like about "Deliverance", especially the title track that is just pure Opeth candy. The second half is almost purely instrumental, with a really catchy rhythm as the main star, digging deeper and deeper into your brain for every cycle it repeats. That song is worth the price of admission alone, but there is a lot of great instrumentation in this album, you just need the patience to find it, because they are mostly buried in the middle or end of the songs. Some of the best bits can be found in both "Wreath" and "A Fair Judgement", making the first half of the album really excellent. Of course, Mikael does another stellar vocal effort too, but this is his most anonymous performance to date.

But even if the album is only six songs long, I still find two that are more or less unnecessary. The short instrumental "For Absent Friends" has no real meaning to it besides giving a comfortable break, and while "Master's Apprentices" is a fairly nice track, it take an obscene amount of time to get somewhere. I am all about opening long songs slowly, but this is just flat out ridiculous. Then we have the ending song "By The Pain I See In Others", which has the opposite problem, the final four minutes is more or lest silence, which is not a good way to end an album. Still really like the song though.

Ultimately though, "Deliverance" is a neat little album that has some good Opeth magic to it, but I do not think it is enough of it for it to be able to match the band's previous works. The rift between the first and second half is quite big, and only getting 5 and a half songs is not really worth it in the end. Still, there is enough meat on the bone to really appreciate what Opeth did here. After all, it is the first half of a double header, with the second one promising some more proggy goodness from the Swedes. A nice appetizer for what is hopefully the main course.

Songs worthy of recognition: Deliverance, Wreath, A Fair Judgement

Rating: 7/10 Absent Friends

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Damnation
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Opeth - Blackwater Park (2001)

So we have finally reached "Blackwater Park" in our discography review series of Opeth, the album that is considered to be the band's magnum opus. To most, this is a modern progressive classic, a must have in every metalhead's collection. It is also the album that elevated the band to the next level, from being an underground group that was getting some positive feedback, to being one of the biggest metal acts around. This record is monumental for the evolution of Opeth, and it has a place in many people's hearts, but is it really as good as the early material, or was it just lucky coincidence that this gave the band its big breakthrough?

Let us start with the basics, what separates "Blackwater Park" from its four predecessors? It definitely has a lot of the same elements that previous outings have, like the poetic lyrics and the guttural death metal moments, but what I think makes "Blackwater Park" a different album is that it is just much smoother around the edges. The production (made by legendary Porcupine Tree singer Steven Wilson) is cleaner, but it still has enough darkness in it to not hurt the album, helping to enhance all of those sweet melodies.

Another reason to why this album blew up might be because it is more accessible than its brethren. Yes, it is still a true progressive metal album, with a song span that could be everything from 6 minutes to 12, but the structures of the songs are more straight, giving off to some really catchy moments in this album, mostly thanks to the amazing instrumentation. It still has that Opeth vibe to it though, so the band is not selling out or anything, they are still the imaginative group that we got to know on all previous records.

Besides, let us be honest, the previous albums felt a little all over the place, having tons of influences from several different genres that did mash up well, but it is with "Blackwater Park" where Opeth perfected their sound, making it more fluid and cohesive. The band is truly hitting their stride with all of these fantastic, sweeping melodies that really helps in telling a story.

Yeah, there is not much else to say about "Blackwater Park" other than that it completely deserves all the praise that it has gotten over the years. It is a transcending album that just flows naturally through your ears, and it also have a cohesive sound throughout the album that set the band up for success. However, I do not think this is an all around perfect album. It could have benefited from being a little grittier in its production, and some of the lyrics here are not as good as in previous outings. Despite those minor issues, "Blackwater Park" is still an amazing record, a must listen for every prog metal lover. Is it the best Opeth record though? We will see eventually...

Songs worthy of recognition: The Funeral Portrait, The Leper Affinity, Bleak, The Drapery Falls, 

Rating: 9,5/10 Harvests

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Deliverance
Damnation
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Opeth - Still Life (1999)

It has been a while since we checked on the Opeth discography, and there are reasons for why that is so. First off, Manic Movie Month happened. Second off, Super Mario Odyssey happened. And third off, a bunch of new music happened. In short, my busy side took over a little too much of my life, but the time has come to go back to the progressive Swedes and take a look at their fourth studio release, entitled "Still Life".

Just like the last release, "Still Life" is a concept record, about a man that has been shunned from his village for not following along with their religious beliefs. He returns years after to get back together with his loved one, which leads to several problems along the way, both for our main character and the "council". It is an album that Michael himself has called "anti-christian", not satanic in anyway, and I think it is a very interesting way to give critique to religion as a whole, doing it in the poetic way that only Opeth can do.

The sound of the album is a lot like "My Arms, Your Hearse", a blend of the soft prog rock and the more guttural and dark death metal vibes. But with better funding from their new record company, Peaceville records, the band had an opportunity to take their music to the next level, which of course starts with the production that is a lot more clear cut than its predecessors. It can be seen as a positive or a negative thing, depending on who you ask, but to me, it gives the music a chance to stand out more, to reach out further to the listener. There is no question to me that the production helps elevate "Still Life".

This is the start of the Opeth 's golden age, the era where they find themselves as one of the great genre defying bands that changes metal as we know. While "My Arms, Your Hearse" did sort of show it, "Still Life" perfected the Opeth sound that we all know and love, the sweeping, haunting melodies that blends so well with the brutal aggressiveness of the drums and Michael's harsh vocals. They also put in some real slow moments too, like the acoustic "Benighted" that is just so beautiful and soothing.

But this album is not about the songs in my opinion, it is about the whole picture, how all of the songs match up to create a smooth flowing album that translates to an amazing experience. It also has a very long lasting effect too, for I have listened to "Still Life" about 15 times now, and I am still not tired enough to stop myself from another listen. It knows when to go soft, when to go heavy, and when it is time to shift momentum. It is a well oiled machine that runs smoothly without any hitches, and the band all helps out to keep it running perfectly.

"Still Life" has a lot of life to it, and it is a spiritual album that just feels right in every way. From the concept, to the performance, this album is fantastic for many, many reasons. The only real grief I have with it is that some songs do pad some of the run time (especially the ending song "White Cluster"), but it is not by much, it is something you can easily look past. All in all, go listen to it already, it is the start of the prime era of Opeth, and what a start it is.

Songs worthy of recognition: Godhead's Lament, Benighted, Moonlapse Vertigo, Serenity Painted Death

Rating: 9/10 White Clusters

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Opeth - My Arms, Your Hearse (1998)

After two very promising, but not fully developed records, Opeth comes through big time with "My Arms, Your Hearse", the first concept record of the band. It is here where they seem to find the balance between all of their influences to create a cohesive sound that feels fully original. Gone are most of the jazz and fusion elements, and left is a very dark, but still beautiful, melodic sound that weaves its wave very smoothly through the speaker and ear canals. And let us not forget the black and death metal elements too, they are still there.

As said, this is a concept record, but it is one that is up for interpretation. All of the lyrics are written in a very poetic way, almost like Mr. Åkerfeldt was sitting out in his garden, enjoying his side hobby of poetry writing, reflected upon what he wrote, and said "yes, this is what we are gonna base our third album on". It is definitely interesting, and it encourages the listener to go deeper into the lyrics, making them think for once, and while we do lose some catchiness in the process, it really does not hurt the music all that much.

Besides from the lyrics, what really makes "My Arms, Your Hearse" stand out is just how well balanced the record is. While "Orchid" was very dark and murky, and "Morningrise" was very calm and collected, this album utilizes both strategies to not only give it more variety, but also just stabilizing the sound, and it all comes together nicely. Each and every song comes naturally, flowing without any problem at all, which just makes it easier for the listener.

And it is this mixing between the heavy and the calm, the harsh and clean vocals, the tough and soft riffs that just makes this record so fascinating. With so many little details here and there, it is close to impossible to take it all in at first listen, so you need to listen to the album again and again and again, but you still find a new little beat every time you spin it around. The replay ability is through the roof, and I will gladly play this sucker again and again, because it is just so pleasant.

But while this album is mostly soft around the edges, it still has a hard enough core to draw most metal lovers in. The band still knows how to hit it hard with those deep black metal vocals, and there are also a bunch of crunchy riffs here and there. As said before, this is a very well balanced record, so there is truly something for everyone here. I could wish for another song in the mix though, since we only get 6 real songs (and none of them are over 10 minutes), but the album is still 52 minutes long, so it still has some decent length to it.

Nonetheless, this is an astonishing record that just delivers a lot of different things. It is heavy, but soft. Dark, but light. Tough, yet fragile. It is an album with many faces, but it still has a very cohesive feel to it all, making it a very strong effort from the Swedes. It is their spring board towards stardom, and they are certainly touching the sky, with a progressive effort that delivers on every front. Maybe the concept could have been a little clearer, but it might just be me, I am not the best at interpreting high art, I am just here for the metal, and the metal is certainly good.

Songs worthy of recognition: Demon of The Fall, The Amen Corner, Credence, Karma

Rating: 9/10 April Ethereals

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
Still Life
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Opeth - Morningrise (1996)

During the beginning of their career, it was obvious that Opeth did not want to get forgotten all too easily, because before normal mortal beings had the chance to comprehend the dense debut effort "Orchid", the band was already done recording their sophomore album. Sure, it is an album that is only contains 5 songs, but man, if you thought "Orchid" was a tough blob to get through in one sitting, then you are obviously not ready for "Morningrise".

Each and every song in this record definitely have the progressive seal of approval, continuing what the band did in the debut with blending black metal, progressive rock, and jazz influences. Not a single song on this record goes below the 10 minute mark, with one song, "Black Rose Immortal", lasting for a whopping 20 minutes and 15 seconds, which is Opeth's longest song still to this day, over 20 years later. This ultimately makes the album just over an hour long, so it is not something you just whip out and listen too in a hurry.

Surprisingly enough though, "Morningrise" is a lot easier to listen to than "Orchid". Not only is the production a lot lighter, but the music is too, using more acoustic guitars and Michael is utilizing more of his clean vocals. If the last album was more classic black metal, then "Morningrise" is more of an atmospheric black metal album, setting more moods and tones. This definitely will be a personal preference whether you think it is a good or bad change, but I embrace it because it lets the music do more of the talking.

All of the tracks in "Morningrise" are great, displaying a good range of moods and technical skills of the band's repertoire, all keeping a fairly low profile that makes the album very solid and strong. The only real problem I have is "Black Rose Immortal", and yes, it is because of the length. It is a nice song and all, but it definitely over stays its welcome, dragging things out longer than it should. Actually, it sorta ends just before the 15 minute mark, but it goes on for another 5 and a half minutes. I can deal with 20 minute songs, but they have to have a reason to be this long, and "Black Rose Immortal" simply does not have a reason that is good enough.

The rest are really nice songs, even if I wished that one or two of them would stand out a little more, by being way heavier or something like that, but as said, it gives a unified impression of the entire album. It is the little things that makes each track stand out from the rest, like the dark vocals in "Advent", the playful opening and general speed in "Nectar", the epic ending in "The Night And The Silent Water", and the overall calm emotions on the ending track "To Bid You Farewell". Yes, all of the songs do contribute something to make "Morningrise" an incredibly enjoyable experience, making that hour go by really quickly.

"Morningrise" is ultimately a very fitting title to this record, because you can just put this on in the morning, take a stroll to your local black and white park with a bridge and pond, and just relax. It does have some heavy moments, but it is the tranquility that dominates the record, which it should. It is most certainly related to "Orchid", but both are completely different records, and they do attract different crowds that hopefully also can enjoy the other one too. It is an early showing that Opeth is one of those bands that can do close to anything without missing a beat, still being their own product and deliver some great progressive music. Wake up, and face the wonderful music that is playing.

Songs worthy of recognition: The Night And The Silent Water, Advent, Nectar

Rating: 8/10 Black Roses

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Opeth - Orchid (1995)

Putting a flower on your cover and title might not seem like the best move for an up and coming metal band ready to release their debut record, but then again, Opeth is not your every day band, and they were not so back in the days either. The talent was still there though, and even without releasing a single demo prior, Mikael Åkefeldt and the rest of his crew managed to get a buzz going, ending up signing with Candlelight records, and record an album together with the one and only Dan Swanö. Not bad for a band that had tons of line up changes and very little experience in its first four years.

The album has a total of 7 songs, which initially sounds okay, but then you look deeper into it, and realize that two of the songs are short instrumentals, and the remaining five have a minimum length of 9 minutes. It is an incredibly meaty album that is pretty tough to get through, and it does not really help that most of them have a similar tone to them. Opeth do blend several different influences here, from black metal to jazz, but it is pretty obvious that Mikael had not perfected his craft just yet here.

With that said, "Orchid" still has a lot to offer, bringing us some very cool and imaginative progressive metal that the world had not seen before. The band never lose themselves in these mastodon songs, keeping a straight vision towards the goal. It is a skill to create such long songs while still making them entertaining, keeping a cohesion all throughout its runtime, and it is a skill that is pretty hard to master. Opeth shows instantly that they have the knowledge to make these songs interesting, without giving the listener a severe headache or nosebleed.

All of the songs have pretty distinct personalities as well, which certainly makes them stand out. The opener "In The Mist She Was Standing" is very playful in the beginning, with guitars that are borrowed from the folk metal scene, but it turns more serious the further in we go, getting darker and darker. The following song, "Under The Weeping Moon", is probably the most memorable of them all, because it sets a heavy tone instantly and continues on in sort of a satanic way, which ultimately leads to a very moody middle part that transforms into a fast frenetic mayhem, where Peter Lindgren delivers extremely simple, but super effective riffing. Absolutely love that part, my favourite bit of the album.

After the piano instrumental, known as "Silhouette", we get "Forest of October" and "The Twilight Is My Robe", both fine songs too, even if they make up what could be considered as the slowest part of the record. Not that these are slow songs or anything, but the momentum is grounded to a halt here, which is not fun. "The Twilight..." have at least some really nice instrumental work that is easy to admire, but "Forest of October" is very forgettable. The closer "The Apostle In Triumph" is a great ending to the record, with even more great instrumentation, and even some clean vocals thrown in to soften things up a bit, and show the range that Mikael has in his vocals.

Unfortunately, I do not think that any of the songs in here are any super strong outputs. All of them have some brilliance here and there, but those moments are spotty, which just ultimately shows that this band still had some way to go before fulfilling their true potential. Even if "Orchid" has some blind spots here and there, it is still an interesting record that has some creative ideas, all performed by a band that is trying their hardest to get that big breakthrough, and they sure got it after this effort, eventually blooming out to a very professional group of musicians. A nice start, but still lots of room of improvement.

Songs worthy of recognition: Under The Weeping Moon, In The Mist She Was Standing, The Apostle In Triumph

Rating: 7/10 Silhouettes

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Opeth - Sorceress (2016)

The transformation of Opeth continues with the release of "Sorceress", the band's 12th studio effort, and the 3rd that many would consider to be a part of the new era of the band, an era without harsh vocals and more rock elements. Say what you want about this change, but the band has adapted well, without losing their keen sense of making stunning and magical music. It is still Opeth, even if it is a different Opeth from before.

As per usual when it comes to Opeth, much of the magic in "Sorceress" lies within the vocals. While I do think that Mikael Åkerfeldt does not have one of the most unique vocals in metal, but he certainly knows how to utilize it in the best possible way, all to give the music that extra dimension. Those vocals makes a song like "Will o The Wisp", a fairly slow acoustic song, way more magical than what it normally would be. A truly beautiful piece of art.

And that is most of the first half of "Sorceress", a good pack of songs that are more magical than the next one. Most of these songs have its roots in 70's prog rock, and even some jazz fusion is brought in here to spice it up a bit. The only exception to the rule is "Chrysalis", a up tempo song that has a lot of groove in it, and aggression as well. It is without any doubt the most memorable song of the album, and for really good reasons. The tempo changes, the melodies, the instrumentation, yes everything about this song is simply great. A clear highlight of the album.

After "Chrysalis" though, things go from exciting and interesting, to sleep mode. "Sorceress 2" and "The Seventh Sojourn" are both extremely slow paced songs, completely killing the mood that the first 5 songs had helped build up. It is a weird break in the album that just does not fit at all. It ruins the album completely, just putting in two songs that are just wasting valuable space with practically nothing. It is boring, boring, and a little more boring.

Fortunately, those two songs are the only duds in "Sorceress", because we are right back on the saddle again with the longest track of the album, the just under 9 minute song "Strange Brew", a very progressive songs that is built with a lot of different layers, from slow mood building parts, to extremely technical (and close to confusing) madness. I really could not think of a better title for this song, because this is indeed a "Strange Brew", but a very tasty one, offering some really neat and interesting stuff, and also the heaviest parts of the whole record. It is kind of strange that this is the longest song, and I think it reflects "Sorceress" nicely, because it is not all that progressive, it is more direct in its approach. This is something that some may like, and some may dislike, but I think that most will be indifferent about it, as long as the music works (and it does).

While the ending of the record is kind of forgettable, it is still a nice listen, and it fits nicely with the image of the  album. A nice, spiritual sound that is experimenting a little here and there with all kinds of tricks, but never goes overboard with it. All in all, I think that the band has created a really nice record that is varied in its sound, yet cohesive. "Sorceress" is a good continuation down Opeth's mellow path, but it is not without its twists and turns. The uneven song material is hurting the album badly, and keeps it from reaching the same heights as its predecessor "Pale Communion". As for the lack of metal in it, I could not care less about it, because Opeth has evolved with dignity, transforming their sound that is reminiscent of the past, yet groundbreaking and interesting. Nonetheless, it is still a good album that is a worthy corner stone of the Opeth legacy, even if it is still a below average Opeth album.

Songs worthy of recognition: Chrysalis, Will o The Wisp, Strange Brew

Rating: 7,5/10 Wilde Flowers

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Watershed
Heritage
Pale Communion

Live review: Iron Maiden + Opeth and The Raven Age at Ullevi, Gothenburg

My first main metal show took place 8 years ago (man, I feel old), and the band that headlined was Iron Maiden. The tour was Somewhere Back In Time, which of course meant that I got to hear all of the classics from the 80's era of the band, and while I was almost oblivious over how big the band actually was, I was shell shocked over the show, the atmosphere, and the overall experience. It was an amazing night, and still to this day, I hold it as one of my favourite shows of all time. I was supposed to see them again 2 years later, when they played on Sonisphere in Stockholm, but god decided to recreate his main hit, a massive rain storm that would drown all the sinners, or in this case, all metal lovers. It was supposed to be a day filled with awesome music, but it ended early, I was soaking wet, and I only got to see two bands, Slayer, and Iggy Pop and The Stooges (and yes, Iggy played without a shirt despite the rain, he is a crazy man).

After the release of "The Book of Souls", I was determined to see the band again, not only because I loved the album, but because it had been ages since I saw them. So I took my bag, packed some necessities, and traveled to Gothenburg, the metal capital of Sweden, and the fantastic stadium Ullevi, and prepared myself for a awesome night with awesome music.

Opening act 1: The Raven Age

Well, here is where I would have written about the performance of this relatively young and unknown British band The Raven Age, a band that has followed with Maiden throughout the tour, but I did not make it in time to see their show (thanks public transportation!). To be honest though, I am pretty sure that I did not miss much. Some of the people I spoke to that saw the show said that they were okay, but nothing more, one even stated that it almost felt like they wrote new material on the fly, which would not surprise me at all since I think they have only officially released 4 songs.

I did listen to them though on my way to Gothenburg, and I can best describe them as a modern In Flames clone, in other words, not the most unique band I have ever heard, but the songs I did listen to were quite good. I really hope that the band takes the most out of this experience, and channel it to make a killer debut record, because this band has potential.

No rating since I did not see the show, but give this band a look at their Soundcloud page right here.

Set List
1. Uprising
2. Promised Land
3. The Death March
4. Eye Among The Blind
5. The Merciful One
6. Salem's Fate
7. Angel In Disgrace

Opening act 2: Opeth

When I saw that Opeth was gonna open up for Maiden, I was like "Hell yeah!!!". Seriosuly, getting to see two amazing bands from two very different spectres of the metal universe for the price of one, it is a offer you cannot refuse. Unfortunately, it almost feels like I was the only one who truly was excited over Opeth, because the arena was not even close to full when they played.

This was a obvious risk Opeth had to deal with, since the Maiden fans are of a different nature, it is difficult to make them pay attention to Opeths long, complex, and heavy songs. The band did a good job though, and they played the gig in a very professional matter, delivering a nice performance that unfortunately went to deaf ears. All around me I could see people sitting down, chatting, and minding their own business, ignoring Opeth almost completely. Sure, I know that you all are here to see Maiden, but give the opening acts some appreciation at least. Is it really that difficult?

As for the set list, I really do miss "Ghost of Perdition" in it, but I really do not mind all too much about that since they were the opening act and they only had so much time to work with (approximately 50 minutes if I recall correctly). I enjoyed every note from the band, and I hope that Opeth gathered some new fans out of this gig, but as Mikael Åkerfeldt himself said, "compared to the main act, we are elevator music", at least to the ears of this specific crowd.

Best: Can't complain on Opeth's professionalism and flawless execution

Worst: The band did not get the appreciation they deserved

Rating: 6,5/10

Set List
1. Cusp of Eternity
2. The Devil's Orchard
3. Demon of The Fall
4. The Grand Conjuration
5. Deliverance
6. Heir Apparent

Main act: Iron Maiden

So finally, it was time. UFO's "Doctor Doctor" had just been played through the speakers, which of course meant that it was time for Iron Maiden to enter the stage. But before they did that, we got spoiled with a short movie clip from the jungle of the Amazonas, watching a gigantic Eddie hand tossing away the Ed Force One towards our location, building up the tension to what would come.

Not surprisingly, Bruce opened up the show with that epic intro to "If Eternity Should Fail", but a problem showed itself already, and that was the sound. The sound was literally all over the place, not only on this song, but more or less the entire first half of the show, which was horrendous. Bruce could disappear time and time again, both during and in between songs, making me, and everyone else, frustrated. It is 2016 for god's sake, and we have yet to invent a way to perfect the sound in a live show. How hard can it really be?

And to add salt to the wounds, the audience seemed... sleepy, or just not fully interested in the new songs. I really love "The Book of Souls", so I was happy to see that 6 songs from the album was a part of the set list, but it was hard for the band to engage the crowd to sing along here. I am not surprised though, because since most of the audience were of the older generation, and they want to hear the classics. It is a conundrum that is hard for the band to work with, but they do the best of it. Personally, I could have done without "Tears of A Clown", and it would have been interesting to see "Empire of The Clouds", but otherwise, it was a good selection of songs from the new record.

The only new song that truly got some appreciation was "The Red And The Black", which did not surprise me one bit. As I wrote on my review of "The Book of Souls", I saw that "The Red And The Black" could become a modern "Fear of The Dark", and I was right. The audience sang along to the "oh-whoa oh-whoa-oh" with a volume that could be heard in all of Gothenburg, and it really was a party through that long solo section. The band seemed to enjoy every moment through out this mastodon of a song.

Welcome to the ring, Eeeeeeeeeeeeeeeeeeel Dickinson

And it definitely felt like the band woke up on the right side of the bed this day, especially Bruce Dickinson who acted like a child whom just had a big sip of its parent's coffee. He ran around everywhere, without getting tired one bit, and doing all sort of crazy shit, like doing a monkey dance on "Death Or Glory", and wear various costumes, my favourite being the wrestler mask during "Powerslave". You mean to tell me that this guy had cancer a year ago? I don't believe you.

The rest of the band was on point too of course, duelling, running, and showing off both left and right among that giant Mayan like stage. Seriously you could not tell that these guys were in their 60's, swinging their instruments and fighting rubber lizards (yes, that happened). The funnest moment though was during "The Book of Souls", in which a humongous walking Eddie comes out and starts swinging his axe towards the members, and they interact with him wonderfully, running under him and tricking him. At the end of the solo section of the song, Bruce lures Eddie to him and he just takes his hand, reaches into Eddie's chest, and drags out his heart. Simply put, it was freaking awesome, and that heart was also tossed into the crowd, so some lucky bastard got himself a Eddie heart as a souvenir.

A big Eddie

The second half of the show was more oriented towards the classic stuff, which also meant that the crowd was warmed up and ready to unleash the fury. "Hallowed Be Thy Name" was great and made the crowd jump with excitement, but that was nothing compared to the usual fan favourite, "Fear of The Dark". There are few songs in the universe that can match this song in a live setting, just hearing the crowd sing along here makes every hair on your body rise. A Maiden set list would not be complete without this roof raiser. The main set list ended with "Iron Maiden", and if I thought the Eddie before was big, then I had seen nothing yet. At the end of the song (which was the one that suffered the most from the audio problems), a massive inflatable Eddie appeared in the background, wobbling his head back and forth to the band and the audience. Epic to say the least.

An even bigger Eddie

After an incredibly short break, the encore started with "The Number of The Beast", and a big inflatable beast at the corner of the stage. Together with the looming darkness and some pyrotechnics, this rather worn out song got a neat little face lift. After that though, magic happened. Bruce was going to have another chat with the audience, but he could not get out a word, because the cheers and applause seemed to last an eternity, just making the band shake their heads and take it all in, enjoying every second of this ultimate tribute to them.

The magic continued with the only song from the 00's, "Blood Brothers". The crowd swayed in motion, sang their lungs out, and the ones on the stands took out their cell phones to create a perfect night sky filled with stars. Talk about coming together as blood brothers here, it was pure magic from start to finish. "Wasted Years" ended the show after 2 hours, and yes, there are a ton of songs that I would have loved to be added to the set list. No "Run To The Hills", no "Phantom of The Opera", no "Rime of The Ancient Mariner", no songs from "Seventh Son...", and few newer songs (except for the "The Book of Souls" songs of course), but Maiden has such a huge catalog of amazing songs that any set list they put out is a good set list, and their playful execution will always make sure that you will leave the show with a huge smile on your face.

Even with the rough start and uneven sound, Maiden delivered once again, making sure that they are still one of the best metal acts out there, even after 30+ years of service. I do feel like my first Maiden show back in 2008 was better than this one, but this is not something you can blame on the band, because they did nothing wrong, only right. Ultimately, this was a fantastic show that was spontaneous, fun, and heart warming. Go and see this band while you have the chance, you will not be disappointed, I guarantee you. Up the Irons!

Best: "Blood Brothers" have never been more magical

Worst: The sound was literally all over the place

Rating: 8,5/10

Set List
1. If Eternity Should Fail
2. Speed of Light
3. Children of The Damned
4. Tears of A Clown
5. The Red And The Black
6. The Trooper
7. Powerslave
8. Death of Glory
9. The Book of Souls
10. Hallowed Be Thy Name
11. Fear of The Dark
12. Iron Maiden

Encore
13. The Number of The Beast
14. Blood Brothers
15. Wasted Years

Stay metal!
Robert "Sharkruisher" Andersson

Opeth - Pale Communion (2014)

Like many other fans of the Swedish progressive band Opeth, I was a little hesitant about approaching their 2011 album "Heritage", a album that once and for all left the band's death metal roots to instead focus on more mellow music and inspirations from the world of jazz and fusion. When I eventually took the courage to listen to the album, I found that it actually was another solid effort by the Swedes, but I also felt like there was something missing to really lift the album. So now that Opeth is back with its 11th effort, I was hoping that they would further develop their style even more to create a album that was truly worthy of belonging in their legendary discography.

So first let me say this, I would not really consider "Pale Communion" to be a metal album. Mikael Åkerfeldt only uses his clean vocals in this album and there are only a few spots where an electric guitar is heard. This is more or less a continuation on what the band did on "Heritage", but it feels more cohesive this time around. There is a clear red line that goes through the entire album, but you can also easily extinguish individual tracks by themselves, a attribute that I sort of missed in "Heritage" and gives "Pale Communion" an upper hand.

But the one thing I really love with "Pale Communion" is that the classic Opeth sound is still there. The progressive melody loops, the constant development that keeps you guessing, and the fine detail work on the instrumental department. And the song that shows all these parts the best is the 10 minute song "Moon Above, Sun Below". The song may lack some epic qualities, but it makes up for it by being a diverse track that shows tons of emotions and styles. You are thrown back and forth through almost everything between the sky and earth, which is just a fantastic feeling.

Another very interesting attribute that Opeth is known for and that most of the songs on "Pale Communion" have is that they build up to a unique and marvelous ending that makes your neck hair rise. The endings on "River" and "Eternal Rains Will Come" have a fantastic ability to build up from the ground and ultimately blossom out fully at the end. I would love to see this being used more by other bands, since it is a great way to capture the listener.

Besides from the already mentioned songs, we also have the simplistic "Cusp of Eternity", the soothing "Elysian Woes", the instrumental "Goblin", the sort of oriental "Voice of Treason and the finishing song "Faith In Others". This means I have mentioned all of the songs in the album, and they deserve it. There is not a single song in "Pale Communion" that deserves to be forgotten since they all have something in them to make them memorable. And together they create a album that shows good variety, while still keeping a certain focus point.

Even if "Pale Communion" is a fantastic album, it could still be considered as one of Opeth's weaker albums up to date, but comparing this album to such classics as "Blackwater Park" and "Ghost Reveries" would be unfair. If "Pale Communion" should be compared against something, it should be "Heritage", and I personally feel that this album is a much more organized and well thought out album than its predecessor. This new era of Opeth may not have much metal in it, but it still sounds awesome, and it will be very interesting to see how far the band can take it in the future.

Songs worthy of recognition: River, Eternal Rains Will Come, "Moon Above, Sun Below", Voice of Treason

Rating: 9/10 Goblins

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Damnation
Ghost Reveries
Watershed
Heritage

Sorceress