I’ve always seen
Watershed as a bit of a polarizing album, as it began the period of random out-of-place interludes being strewn about each song like they were going out of style. Nothing on this album sucks, but very little of contains the best Opeth has to offer. From worst to best:
7. Burden. Come at me, bros. I know this song is well-liked, but it does very little for me. It’s a fine ballad with some heartfeldt parts (see what I did there?), but the band has far better in this style. Also, the ending may be the single most terrible moment in the discography. It would suck on its own, but being attached to an emotive ballad
ruins the song for me (especially when you consider how many
great outros the band has).
6. Coil. Ranked higher than Burden because at least it does something unique. It’s a pleasant little intro to the album and a great contrast to the album's heaviest track, and I love the bass that semi-follows the vocals.
5. Hex Omega. This song is fine. I can’t help but feel that it’s too long considering that it only has like three sections. It has an eerie and ominous vibe that I like, and the ending is powerful. As far as album closers go, though, it’s one of the weaker ones.
Derelict Herds. This song should have been on the album proper, and would have fit in great after Burden. The intro and opening verses are unsettling and groovy, and the part at 2:13 sounds like something from the Blackwater Park era. The growly parts here are pretty average, but the main groove and cool Eastern-ish leads make up for it.
4. Porcelain Heart. This is basically The Grand Conjuration without growls, and I would’ve ranked it lower if it wasn’t for the middle lullaby part, which is simply beautiful. I love that polymetric drum fill, too.
3. Hessian Peel. I’ll always love this song for the false sense of security fake-out at 5:44, which makes me laugh every time. Absolutely brutal, and I love his tortured screams here. The track’s first half is all about mood, and Mikael’s soulful voice carries it perfectly. The riff at 4:14 is pure emotion and I love every second of it, especially when the harmony is added. Super groove metal at 6:32, and the chunky buildups afterward are glorious. Love the groovier quieter part afterwards, and that riff at 7:44 is something else. “Seeking tenderness with a dagger,” lol. I’ll admit that the song’s ending (from 9:15 on) isn’t great, though.
2. The Lotus Eater. This track is a bit too disjointed at times, but the quality sections are strong. The intro is such a great contrast between clean and growly, and the riffs that follow are a high-octane good time. The quiet part in the middle isn’t my thing, but the best part of the album strikes at 5:48. Can’t top this weirdness. This section was my ringtone for years; I can’t get over that sick bass groove and kooky keyboard. The last two sections are killer, too. OVERHEARD US TALKING!!!1
1. Heir Apparent. What a monster. No pansy clean vocals here, folks. As soon as the song starts with that diminished chord you know what you’re getting yourself into, but they still use dynamics masterfully to draw you in further. That first verse is massive, especially with how the riff “overhangs” a bit after the first note. The riff in between is so Still Life, and the section after (solo riff) also conjures up that album with its complexity. Fantastic solo! While I’m not a huge fan of the “constant open E” sound of the intense section in the middle, it‘s pulled off so well. Finally, the ending is classic Opeth, and sounds straight off Blackwater Park or Deliverance. Amazing bass here, too!
Ironically, the final track, Hex Omega, feels like the closest relative to Heritage to me.
Very much agreed, although I'd take it over almost anything on Heritage due to the far stronger production. I saw them play this track on the travesty that was the growlless Heritage tour, and it fit right in.
