OPETH SURVIVOR 2016: Results -> The sun sets forever over Blackwater Park!
- Thread starter Night Prowler
- Start date
Eliminated after Round 7:
Weakness - 7 votes
White Cluster - 6 votes
Still Day Beneath The Sun - 6 votes
Patterns In The Ivy II - 6 votes
Moonlapse Vertigo - 4 votes
Ghost Reveries joins the game.
Note:
Harlequin Forest is always referred to as Reverie / Harlequin Forest, but the Reverie part is actually either at the end of Atonement or hidden between the two songs so that you can only hear it if you play the whole album.
They also skip Reverie when they play Harlequin Forest live.
So I have separated Reverie in this game so that people can figure this out.
You can hear the actual Reverie / Harlequin Forest here
MrKnickerbocker
clap hands
Oy vey. I'm falling behind. I'll try to get my final thoughts on Damnation in tomorrow. It'll be a bit before I can comfortably vote for GR stuff.
Also: damn you monsters for killing Moonlapse.
Also: damn you monsters for killing Moonlapse.
Watching Lamentations now. I haven't seen this in such a long time, but I watched it a ton when I was getting into the band.
Haven't seen Roundhouse Tapes yet, looking forward to that!
- It is pretty bold for their first live video to be so heavily focused on their prog Rock side. It's actually a shame that they don't have more live albums/videos. Opeth live is an other worldly experience.
- I never realized how important Peter was to the early Opeth material until later and that's partly because of this video. He just kind of seems like the background guy in this damnation stuff. He doesn't get any solo spots and spends most of the time playing rhythm guitar. You'd never guess that he ever had a hand in songwriting with the band. He also seems removed from everyone else on stage.
- Cool Floyd-y jam during Closure.
- Even back then, the prog songs are heavier live. You really appreciate the drums more on this performance, but they were already awesome on the album.
- Am I the only one who finds the breaks in between songs awkward? I even noticed this when I saw them live. They pause between every song and it takes a pretty long time for them to get to the next one. At least Mikael is better at banter now, on this he barely talks to the audience during the breaks.
surprised they didn't cut that stuff out. No big deal, just something I've noticed with their live performances. - Ending Credits was made for live performances. I like the faster tempo here. They could play this more often and turn it into a little jam.
- Interesting that they threw Harvest into the middle of the set, instead of playing it after Weakness. Good performance though, Mikael's singing is great on this tune.
- Weakness is surprisingly very cool live. Nice intimate moment.
- They really push the tempo on Deliverance, I like it.
- Interesting set list on the second set. I like how they alternate between Deliverance and BWP songs, but the order is odd. Masters Apprentice is an odd opener and AFJ is an odd closer, Glad to get 3 of the 6 Deliverance songs on this DVD though. While this set list only represents three albums, it's a pretty good selection.
Haven't seen Roundhouse Tapes yet, looking forward to that!
Detective Beauregard
Leviathan of Doggerland
Moor
Melinda
Death Whispered
Closure
Ending Credits
Baying
Beneath the Mire
Atonement
Hours
Isolation
Good call. I made an edited version of the album where I have Reverie as the 5th track and Harlequin as the 6th. It's an excellent intro to the strongest track on the record, and also stands well on its own.
At the time, they were contractually obligated to not record live versions of any songs prior to Blackwater Park. I think it's odd that only two heavy songs from that album were played, but thankfully we get more of them on Roundhouse Tapes and Royal Albert Hall (the latter with terrible growls, unfortunately). Just an FYI in case you're wondering why their earlier stuff wasn't represented.
While I disagree with Master's Apprentices being an odd opener (it gets right to it and announces that Opeth is in full force), I do agree that Fair Judgement is an odd closer. Maybe they thought the ending (the best part of the song, in my opinion) was an interesting farewell?
Melinda
Death Whispered
Closure
Ending Credits
Baying
Beneath the Mire
Atonement
Hours
Isolation
Good call. I made an edited version of the album where I have Reverie as the 5th track and Harlequin as the 6th. It's an excellent intro to the strongest track on the record, and also stands well on its own.
At the time, they were contractually obligated to not record live versions of any songs prior to Blackwater Park. I think it's odd that only two heavy songs from that album were played, but thankfully we get more of them on Roundhouse Tapes and Royal Albert Hall (the latter with terrible growls, unfortunately). Just an FYI in case you're wondering why their earlier stuff wasn't represented.
While I disagree with Master's Apprentices being an odd opener (it gets right to it and announces that Opeth is in full force), I do agree that Fair Judgement is an odd closer. Maybe they thought the ending (the best part of the song, in my opinion) was an interesting farewell?
Last edited:
Iryo, but quality of the Lamentations performance is much better. Especially the thing that's the biggest problem now, which is growls.
I didn't even like Roundhouse Tapes for a long time - I missed Lopez and growls annoyed me, but now they sound incredible compared to his 2016 growls
Probably gonna be a few more years before I can get into the RAH live album. That one has the best setlist but I can't get into the performance.
The Flash
Dennis Wilcock did 9/11
This expression sounds funny to me, because we have a gas station called Opet in Turkey and their eurodiesel product used to be called Opet Full Force.
The Flash
Dennis Wilcock did 9/11
Feel can be (seen as) part of a musical performance.
Sure but the other aspects of the performance puts RAH over Lamentations for me.
MrKnickerbocker
clap hands
The first time I saw Opeth (2014), I had no live knowledge of the band. I was literally shocked at how long it took them to get to the next song because of Mikael talking to random people shouting in the audience and telling very slow stories. It was hilarious, but they could have fit at least one more song in if they only cut some of the banter. However, the show I saw two months ago had far less banter and stops. They condensed almost all of it into the "request section" which was far preferable.
- Am I the only one who finds the breaks in between songs awkward? I even noticed this when I saw them live. They pause between every song and it takes a pretty long time for them to get to the next one. At least Mikael is better at banter now, on this he barely talks to the audience during the breaks.
Ah ok, I didn't know that. That also explains why Demon Of the Fall was performed as an encore but not included on the DVD.
Lamentations definitely has a better performance. I forgot what good live growls from Mikael were like. Even growls aside, I was impressed with how tight the band sounded. There was a moment where there was a very short break in the middle of a very tight riff and the band nailed it. It was so clean that it sounded like a tape edit.Iryo, but quality of the Lamentations performance is much better. Especially the thing that's the biggest problem now, which is growls.
I didn't even like Roundhouse Tapes for a long time - I missed Lopez and growls annoyed me, but now they sound incredible compared to his 2016 growls
Probably gonna be a few more years before I can get into the RAH live album. That one has the best setlist but I can't get into the performance.
I've gotten so used to the bad growls that it doesn't bother me as much on the RAH DVD. The setlist and musical performance is so good that I don't notice it. Again, it has been awhile since I saw that DVD as well so maybe it's better than I remembered, but we'll see.
OK it's not just me! The banter was fine when I saw them, it's better when you're actually there and Mikael is engaging the audience a little more. At home watching a DVD with a mostly silent Mikael is boring and disrupts the flow of the performance.
MrKnickerbocker
clap hands
Damnation took awhile for me to appreciate, and not because it's all clean. I actually could not get into Opeth at first because I didn't like growling. @Detective Beauregard said, "Listen to this album, it's not growlie at all." And I did, and it bored me with sadness. Melancholy is one of the least favorite emotions to hear in music. Once I came to love Opeth, however, this album made a lot more sense to me. I have come to love it over time (mostly).
Windowpane – This song kicks off with the most hypnotic musical section the band has ever done. It’s groovy and delicious, with bass and drums to die for. When the vocals kick in with the acoustics, it just gets better. The first keyboard break and subsequent guitar solo are incredible. A radical change in style is readily obvious – this is a different Opeth. The songwriting is more simplistic and more confident, with lyrics that speak to a new era of maturity for Mikael. Steven Wilson’s influence is clear all over this song with sparse keyboards, droning moments, and some psychedelic influences. I adore the panned guitar parts where Mikael and Peter switch off that little lead riff. Again, the layers in this song are just killer. Every guitar lead in here is spot on and perfect (especially the main solo at 5:15). Nothing is overdone, nothing feels forced, this is a band testing their limits of restraint and hitting it out of the park. When the vocals return, it’s shocking because the song feels like it might end instrumentally. That final verse with harmonies is just superb. The difference between this and Wreath on Deliverance is night and day – one sounds like a band trying to live up to their past and this sounds like a band embracing a new future. 10/10
In My Time of Need – The simplicity continues with a basic arpeggio and bass/drum groove. Honestly, I’ve never been a fan of the vocal syncopation here. Once the pre-chorus and chorus kick in, though, it’s fantastic. The bass lines leading into the choruses throughout have wonderful little fills. Harmonies during the verses help with the oddness of the melody, but I still don’t love it. At 2:40, we get probably the darkest and heaviest clean section on the record – it sounds like this could have been a distorted section on any other album. Same goes for the final chorus, which is quite loud for an acoustic section (mostly because of Stevie’s wailing keyboards). I’m not in love with this song, but it has a lot to like. 8/10
Death Whispered a Lullaby – Love this verse melody and Mikael’s vocal performance here is stellar. It’s convincing, emotive, and truly powerful. The musical break before the chorus is wonderful. Once again, this chorus could have been heavy and still made sense but the choice to keep it clean is smart. Very nice work on lyrics here, Stevie. At 3:00, we get the most metal solo on the whole record and it’s awesome. The transition is abrupt and perfect and Lopez really nails the power behind his drumming here. A dark whale noise guides us back to a verse with one of the weirdest, coolest vocal harmonies ever. It ends like madness with that feedback guitar solo and it’s truly a perfect cap to the song. This track rules. 10/10
Closure – The first minute of this song is weird. I love the harmonized chanting vocals, but the ends of each line are just rather weak vocally. But Mikael’s experiment is commendable. Don’t get me wrong, it works, but in that kind of odd “Dirge for November” way. The song picks up with the instrumental, lead by tremolo guitars and another locked-in-to-all-hell drum and bass groove. Finally, we get some heavy chords! They don’t last long, but still it’s a very nice touch. I don’t love Mikael’s vocals in the last verse until the harmony kicks in, but boy is that outro fucking spectacular. The heavy percussion, the groove, the wailing ghoul guitar – more masterful material. This outro alone is responsible for at least 2 of the points that I’m giving this track. 8/10
Hope Leaves – We hard cut Pull Me Under-style out of Closure to get to this melancholy beauty. I normally hate this kind of thing but it works really well based on the intensity of the end of the previous track. Mikael’s vocals and guitar intro are awesome and that first guitar lead feels like it’s ripping out my soul with emotion. “There is a wound that’s always bleeding,” is a great line. Like everything else on Damnation it is simple and effective. I think Hope Leaves is probably the saddest song here, and yet one of the prettiest. Mikael’s performance rings true in every note. Fade is justified, it’s part of the road the song is always walking. 10/10
To Rid the Disease – This song creeps me out in the best possible way. From the eerie intro vocals, to the eerie feedback hiding under Mendez’s sick bass groove, it’s all spooky and delicious, especially with that switch into the soothing chorus part. I love the piano adding a backdrop to the guitars during the second half. Mikael’s “I have lost all trust I had in you,” layer during the second chorus gets me every time. It’s amazing how much power this band found in stillness and simplicity with this record. The jazzy guitar solo and bridge section is brilliant, especially when the piano takes the foreground. We get some slightly distorted guitars when the band kicks in again and takes up the outro, and it’s wonderful. 10/10
Ending Credits – At this point, the album takes a weird turn. To Rid the Disease could have ended the album with darkness and drama and it would have worked very well. I love Ending Credits, but it still feels like a jam (especially with the fade in). The guitar solo is sublime here. That tone is literally the musical equivalent of butter. It’s like Satriani and Santana had a baby guitar and plugged it into the best amp John Petrucci could buy. Ending Credits justifies its place on the album because of this beautiful solo and then proves why it exists with the harmonized section towards the end. God, it’s so good. However, I don’t love the fades that take us in and out and it should have actually ended the album instead of the bleh that comes next. 8/10
Weakness – I do not like this song. I don’t like the choice made to have it be mostly weird mellotron that almost opposes the vocal melody through syncopation. I just don’t enjoy it. It sounds like this song was completely recorded with a full band and then Mikael (or more likely Steven) had the bizarre idea to cut out everything except the keyboard layers and some occasional guitar fills. Don’t get it. My least favorite song so far (and possibly ever) in Opeth’s catalogue. 2/10
Damnation is such a collection of melancholy, it makes sense that it was the second half of an album that almost broke Mikael’s spirit. Oddly enough, he seemed to have way more fun with this record and feel more joyous about it, yet it sounds so depressing. Very cathartic, I imagine. Normally, I can’t stand melancholy stuff. It bores me to tears. Opeth’s version of melancholy works wonders though, and Mendez and Lopez are a big part of that. The constant groove in the rhythm section is what makes me love this album as more than just a beautiful collection of guitar parts and vocals. Without that locked-in groove on everything this album would be beautiful, but monotonous. Damnation is an amazing moment in Opeth’s history, the biggest grower of their discography, and far superior to Deliverance.
Windowpane – This song kicks off with the most hypnotic musical section the band has ever done. It’s groovy and delicious, with bass and drums to die for. When the vocals kick in with the acoustics, it just gets better. The first keyboard break and subsequent guitar solo are incredible. A radical change in style is readily obvious – this is a different Opeth. The songwriting is more simplistic and more confident, with lyrics that speak to a new era of maturity for Mikael. Steven Wilson’s influence is clear all over this song with sparse keyboards, droning moments, and some psychedelic influences. I adore the panned guitar parts where Mikael and Peter switch off that little lead riff. Again, the layers in this song are just killer. Every guitar lead in here is spot on and perfect (especially the main solo at 5:15). Nothing is overdone, nothing feels forced, this is a band testing their limits of restraint and hitting it out of the park. When the vocals return, it’s shocking because the song feels like it might end instrumentally. That final verse with harmonies is just superb. The difference between this and Wreath on Deliverance is night and day – one sounds like a band trying to live up to their past and this sounds like a band embracing a new future. 10/10
In My Time of Need – The simplicity continues with a basic arpeggio and bass/drum groove. Honestly, I’ve never been a fan of the vocal syncopation here. Once the pre-chorus and chorus kick in, though, it’s fantastic. The bass lines leading into the choruses throughout have wonderful little fills. Harmonies during the verses help with the oddness of the melody, but I still don’t love it. At 2:40, we get probably the darkest and heaviest clean section on the record – it sounds like this could have been a distorted section on any other album. Same goes for the final chorus, which is quite loud for an acoustic section (mostly because of Stevie’s wailing keyboards). I’m not in love with this song, but it has a lot to like. 8/10
Death Whispered a Lullaby – Love this verse melody and Mikael’s vocal performance here is stellar. It’s convincing, emotive, and truly powerful. The musical break before the chorus is wonderful. Once again, this chorus could have been heavy and still made sense but the choice to keep it clean is smart. Very nice work on lyrics here, Stevie. At 3:00, we get the most metal solo on the whole record and it’s awesome. The transition is abrupt and perfect and Lopez really nails the power behind his drumming here. A dark whale noise guides us back to a verse with one of the weirdest, coolest vocal harmonies ever. It ends like madness with that feedback guitar solo and it’s truly a perfect cap to the song. This track rules. 10/10
Closure – The first minute of this song is weird. I love the harmonized chanting vocals, but the ends of each line are just rather weak vocally. But Mikael’s experiment is commendable. Don’t get me wrong, it works, but in that kind of odd “Dirge for November” way. The song picks up with the instrumental, lead by tremolo guitars and another locked-in-to-all-hell drum and bass groove. Finally, we get some heavy chords! They don’t last long, but still it’s a very nice touch. I don’t love Mikael’s vocals in the last verse until the harmony kicks in, but boy is that outro fucking spectacular. The heavy percussion, the groove, the wailing ghoul guitar – more masterful material. This outro alone is responsible for at least 2 of the points that I’m giving this track. 8/10
Hope Leaves – We hard cut Pull Me Under-style out of Closure to get to this melancholy beauty. I normally hate this kind of thing but it works really well based on the intensity of the end of the previous track. Mikael’s vocals and guitar intro are awesome and that first guitar lead feels like it’s ripping out my soul with emotion. “There is a wound that’s always bleeding,” is a great line. Like everything else on Damnation it is simple and effective. I think Hope Leaves is probably the saddest song here, and yet one of the prettiest. Mikael’s performance rings true in every note. Fade is justified, it’s part of the road the song is always walking. 10/10
To Rid the Disease – This song creeps me out in the best possible way. From the eerie intro vocals, to the eerie feedback hiding under Mendez’s sick bass groove, it’s all spooky and delicious, especially with that switch into the soothing chorus part. I love the piano adding a backdrop to the guitars during the second half. Mikael’s “I have lost all trust I had in you,” layer during the second chorus gets me every time. It’s amazing how much power this band found in stillness and simplicity with this record. The jazzy guitar solo and bridge section is brilliant, especially when the piano takes the foreground. We get some slightly distorted guitars when the band kicks in again and takes up the outro, and it’s wonderful. 10/10
Ending Credits – At this point, the album takes a weird turn. To Rid the Disease could have ended the album with darkness and drama and it would have worked very well. I love Ending Credits, but it still feels like a jam (especially with the fade in). The guitar solo is sublime here. That tone is literally the musical equivalent of butter. It’s like Satriani and Santana had a baby guitar and plugged it into the best amp John Petrucci could buy. Ending Credits justifies its place on the album because of this beautiful solo and then proves why it exists with the harmonized section towards the end. God, it’s so good. However, I don’t love the fades that take us in and out and it should have actually ended the album instead of the bleh that comes next. 8/10
Weakness – I do not like this song. I don’t like the choice made to have it be mostly weird mellotron that almost opposes the vocal melody through syncopation. I just don’t enjoy it. It sounds like this song was completely recorded with a full band and then Mikael (or more likely Steven) had the bizarre idea to cut out everything except the keyboard layers and some occasional guitar fills. Don’t get it. My least favorite song so far (and possibly ever) in Opeth’s catalogue. 2/10
Damnation is such a collection of melancholy, it makes sense that it was the second half of an album that almost broke Mikael’s spirit. Oddly enough, he seemed to have way more fun with this record and feel more joyous about it, yet it sounds so depressing. Very cathartic, I imagine. Normally, I can’t stand melancholy stuff. It bores me to tears. Opeth’s version of melancholy works wonders though, and Mendez and Lopez are a big part of that. The constant groove in the rhythm section is what makes me love this album as more than just a beautiful collection of guitar parts and vocals. Without that locked-in groove on everything this album would be beautiful, but monotonous. Damnation is an amazing moment in Opeth’s history, the biggest grower of their discography, and far superior to Deliverance.
Ghost of Perdition - Love how they come out swinging on this one. Despite hearing this song so many times, the intro still catches me off guard even though I know it's coming. The first clean sung section comes in fairly early compared to other Opeth openers. This combined with the keyboard textures makes it clear right away that Opeth has evolved yet again. The syncopated riff underneath is awesome. Great way to get the listener pumped up. So many awesome riffs on this track too. My favorite riff on the song is probably at 5:56. It's so groovy yet so evil sounding at the same time. The vocal part there is awesome too.
The acoustic melody is probably the most haunting section in Opeth's discography. It gives me chills every time.
The "darkness by my side" bit is great too, it is enhanced by the different drum grooves underneath. I know Martin Lopez was struggling during the recording of this album but you'd never know by listening to this. He still turns in a fantastic performance.
The way it gradually comes back down after the big chorus shows how far the band has come in arranging their music. This is by far the most dynamic Opeth song. It seamlessly shifts moods and dynamics without ever coming off as clunky.
There's also a neat little jazzy lick toward the end, probably our first taste of the current Opeth.
Love how it ends with that awesome haunting acoustic melody. Perfect end to the song.
I'd say my favorite Opeth song is a three way tie between Bleak, Deliverance, and this one. I love all three for different reasons, although I find myself coming back to Ghost of Perdition the most. It is such an epic cinematic track. It has everything I like about Opeth and there is not a single moment I don't enjoy.
The Baying Of the Hounds - Very Deep Purple esque rhythm for the first verse with the hammond organ. I think this song is the best showcase for the new keyboard player. Any question as to why he became a full member of the band should be erased after hearing this song.
I love the rising organ chords underneath the section starting around the 2 minute mark. Great vocal melody there too. Nice dissonant riff to bring us into the soft middle section.
The middle section is so cool. It's such a moody psychedelic part. The slightly distorted guitar chords are a nice touch. Mikael's clean vocals sound better than ever here. His cleans have just as much power as the growls, before they were significantly weaker.
The only problem with this song is that there are certain parts that feel too long. The heavy parts after the soft middle section aren't as good, but it picks up again with the next acoustic section. The heavy section that follows is awesome. Very intense moment. Great outro, love the melody that finishes it off. The sudden ending is a nice touch. Seems like the theme for this album, as GOP also has a sudden ending.
Beneath the Mire - Very unusual start to this song, with the keyboards taking the lead melody for the start. It's cool though, prevents the songs from sounding same-y. The first verse is very doom-y, almost reminsicent of the earlier stuff but the riffing is better. The clean sung verse is awesome, one of my favorite parts on the album. The rhythm underneath is great. Love how the band is doing more syncopated rhythmic stuff on this album. I also like how it suddenly switches to a soft piano/guitar duet. One of many atmospheric moments on this album.
The soft verse that follows is also really cool. I love the countering vocal harmonies there. Also a really cool guitar/keyboard unison. Seems like it was a guitar solo that the keyboardist transcribed and overdubbed, which is really cool.
The offbeat rhythm that dominates the next heavy section is really cool. Once again, it's something Opeth has never really experimented with.
Another really cool outro. I like how it ends with just the drums and a bunch of creepy sound effects. I feel this song is a bit of a forgotten gem. Most people talk about Harlequin Forest or Ghost of Perdition with this album, which is warranted, but this song isn't one to be missed either.
Atonement - Nice groovy psychedelic piece. It was amazing live, they turned it into a jam and it was awesome. The 70s influence is very blatant here. It's a cool song, although I will probably be voting for it as the rest of the album is so much better. It's nicely placed on the album. A nice mellow piece before things get heavy again. Also helps with the flow of the album. Same with Reverie.
Harlequin Forest - Awesome start with this one. Heavy but with clean vocals. The vocal harmonies are haunting. Some of the album's best riffing is on this song. I also like when Opeth alternates verses with guitar melodies/riffs. Done very nicely here. The growled sections are good too. After nearly 3 minutes of clean singing, the growled vocals feel like they have been built up to.
The section with the guitar harmonics is so moody. It feels like Mikael is in the room with you, singing and playing. This whole section in general is one of my favorite acoustic passages from Opeth.
The twin melody is incredible. Very reminsicent of the Maidenish harmonies from the earlier albums, but this is so much better than any twin harmony on the first two albums. I like how it slowly builds back up afterwards. Most Opeth songs shift suddenly between soft and heavy, this one takes its time but it pays off. The sinister riff that dominates the final verses is very cool. It's heavy but also really proggy. Sounds like something that would be on one of the recent albums.
I could do without the final heavy verse, but the rest of the song is so good that I can accept one tiny flaw.
I feel that the outro is them trying to replicate the Deliverance outro. It's not as effective, but it works as its own thing.
Overall, awesome song. It has a very epic feel, like you've been on a journey by the end. Love all the twists and turns.
Hours of Wealth - I like the vibe created by this song. Especially this far into the album, it helps maintain the immersion. Not really something to listen to out of context though. It's the weakest song on the album, but it's still really good. I like how it's just Mikael and the keyboards during the verses. It's minimalist but it really draws me in somehow. Awesome bluesy guitar solo too. One of Opeth's better "interlude" tracks.
The Grand Conjuration - The beginning of this song is huge. They're aiming to finish this album the way it started: like a punch in the gut. Very evil proggy main riff. Lots of tension in the opening riff. Awesome buildup in this song. Feels like the tension is constantly building, only to be released at the very end. Very similar to the song Blackwater Park when it feels like they have reached a climax, only to kick it up another notch. Even when it goes into a soft keyboard interlude, it feels like there is a lot of tension there. Not only does it quickly get heavy again, but it builds into a part that's even heavier than anything that came before. The reprise of the intro is intense. Seamless transition too.
This is probably the simplest heavy song on the album. The other songs have a lot of twists and dynamic shifts. Lots of syncopated rhythms too. This song is much more straightforward. It has three main verses and mostly revolves around that main riff. It's a great way to end the album. Very straightforward and continues the atmosphere of the rest of the album. Unfortunately, the final minute or so seems excessive. I would've preferred that it end on a softer note with all the creepy whispering voices.
Isolation Years - It might be unrelated lyrically, but including this song was a perfect way to end the album. Very nice end credits piece. Amazing chorus too. One of their best. Good song.
This is Opeth's peak for me. It's their best album and is the end of the trajectory they were on since the first album. Everything after has been good, but they haven't yet reached the heights of their best work. They also don't really innovate anymore. Their new stuff is recycled 70s prog rock and Watershed retreads pretty much the same waters as this album. I still think those albums are all good, but they don't do anything new the way each of the first 8 Opeth albums were both new for the band and the genre.
It's interesting that we got to this album at the same time as The Black Album in the Metallica survivor, because this is Opeth's Black Album. Their sound has completely changed. The death metal is still there, but it's dominated by the prog stuff, especially with all the keyboards. There are more clean sung passages and it feels like the growls are there more for added effect. On previous albums it would be the other way around.
Ghost of Perdition
Harlequin Forest
Baying Of the Hounds
Beneath the Mire
The Grand Conjuration
Isolation Years
Atonement
Hours of Wealth
Reverie
The acoustic melody is probably the most haunting section in Opeth's discography. It gives me chills every time.
The "darkness by my side" bit is great too, it is enhanced by the different drum grooves underneath. I know Martin Lopez was struggling during the recording of this album but you'd never know by listening to this. He still turns in a fantastic performance.
The way it gradually comes back down after the big chorus shows how far the band has come in arranging their music. This is by far the most dynamic Opeth song. It seamlessly shifts moods and dynamics without ever coming off as clunky.
There's also a neat little jazzy lick toward the end, probably our first taste of the current Opeth.
Love how it ends with that awesome haunting acoustic melody. Perfect end to the song.
I'd say my favorite Opeth song is a three way tie between Bleak, Deliverance, and this one. I love all three for different reasons, although I find myself coming back to Ghost of Perdition the most. It is such an epic cinematic track. It has everything I like about Opeth and there is not a single moment I don't enjoy.
The Baying Of the Hounds - Very Deep Purple esque rhythm for the first verse with the hammond organ. I think this song is the best showcase for the new keyboard player. Any question as to why he became a full member of the band should be erased after hearing this song.
I love the rising organ chords underneath the section starting around the 2 minute mark. Great vocal melody there too. Nice dissonant riff to bring us into the soft middle section.
The middle section is so cool. It's such a moody psychedelic part. The slightly distorted guitar chords are a nice touch. Mikael's clean vocals sound better than ever here. His cleans have just as much power as the growls, before they were significantly weaker.
The only problem with this song is that there are certain parts that feel too long. The heavy parts after the soft middle section aren't as good, but it picks up again with the next acoustic section. The heavy section that follows is awesome. Very intense moment. Great outro, love the melody that finishes it off. The sudden ending is a nice touch. Seems like the theme for this album, as GOP also has a sudden ending.
Beneath the Mire - Very unusual start to this song, with the keyboards taking the lead melody for the start. It's cool though, prevents the songs from sounding same-y. The first verse is very doom-y, almost reminsicent of the earlier stuff but the riffing is better. The clean sung verse is awesome, one of my favorite parts on the album. The rhythm underneath is great. Love how the band is doing more syncopated rhythmic stuff on this album. I also like how it suddenly switches to a soft piano/guitar duet. One of many atmospheric moments on this album.
The soft verse that follows is also really cool. I love the countering vocal harmonies there. Also a really cool guitar/keyboard unison. Seems like it was a guitar solo that the keyboardist transcribed and overdubbed, which is really cool.
The offbeat rhythm that dominates the next heavy section is really cool. Once again, it's something Opeth has never really experimented with.
Another really cool outro. I like how it ends with just the drums and a bunch of creepy sound effects. I feel this song is a bit of a forgotten gem. Most people talk about Harlequin Forest or Ghost of Perdition with this album, which is warranted, but this song isn't one to be missed either.
Atonement - Nice groovy psychedelic piece. It was amazing live, they turned it into a jam and it was awesome. The 70s influence is very blatant here. It's a cool song, although I will probably be voting for it as the rest of the album is so much better. It's nicely placed on the album. A nice mellow piece before things get heavy again. Also helps with the flow of the album. Same with Reverie.
Harlequin Forest - Awesome start with this one. Heavy but with clean vocals. The vocal harmonies are haunting. Some of the album's best riffing is on this song. I also like when Opeth alternates verses with guitar melodies/riffs. Done very nicely here. The growled sections are good too. After nearly 3 minutes of clean singing, the growled vocals feel like they have been built up to.
The section with the guitar harmonics is so moody. It feels like Mikael is in the room with you, singing and playing. This whole section in general is one of my favorite acoustic passages from Opeth.
The twin melody is incredible. Very reminsicent of the Maidenish harmonies from the earlier albums, but this is so much better than any twin harmony on the first two albums. I like how it slowly builds back up afterwards. Most Opeth songs shift suddenly between soft and heavy, this one takes its time but it pays off. The sinister riff that dominates the final verses is very cool. It's heavy but also really proggy. Sounds like something that would be on one of the recent albums.
I could do without the final heavy verse, but the rest of the song is so good that I can accept one tiny flaw.
I feel that the outro is them trying to replicate the Deliverance outro. It's not as effective, but it works as its own thing.
Overall, awesome song. It has a very epic feel, like you've been on a journey by the end. Love all the twists and turns.
Hours of Wealth - I like the vibe created by this song. Especially this far into the album, it helps maintain the immersion. Not really something to listen to out of context though. It's the weakest song on the album, but it's still really good. I like how it's just Mikael and the keyboards during the verses. It's minimalist but it really draws me in somehow. Awesome bluesy guitar solo too. One of Opeth's better "interlude" tracks.
The Grand Conjuration - The beginning of this song is huge. They're aiming to finish this album the way it started: like a punch in the gut. Very evil proggy main riff. Lots of tension in the opening riff. Awesome buildup in this song. Feels like the tension is constantly building, only to be released at the very end. Very similar to the song Blackwater Park when it feels like they have reached a climax, only to kick it up another notch. Even when it goes into a soft keyboard interlude, it feels like there is a lot of tension there. Not only does it quickly get heavy again, but it builds into a part that's even heavier than anything that came before. The reprise of the intro is intense. Seamless transition too.
This is probably the simplest heavy song on the album. The other songs have a lot of twists and dynamic shifts. Lots of syncopated rhythms too. This song is much more straightforward. It has three main verses and mostly revolves around that main riff. It's a great way to end the album. Very straightforward and continues the atmosphere of the rest of the album. Unfortunately, the final minute or so seems excessive. I would've preferred that it end on a softer note with all the creepy whispering voices.
Isolation Years - It might be unrelated lyrically, but including this song was a perfect way to end the album. Very nice end credits piece. Amazing chorus too. One of their best. Good song.
This is Opeth's peak for me. It's their best album and is the end of the trajectory they were on since the first album. Everything after has been good, but they haven't yet reached the heights of their best work. They also don't really innovate anymore. Their new stuff is recycled 70s prog rock and Watershed retreads pretty much the same waters as this album. I still think those albums are all good, but they don't do anything new the way each of the first 8 Opeth albums were both new for the band and the genre.
It's interesting that we got to this album at the same time as The Black Album in the Metallica survivor, because this is Opeth's Black Album. Their sound has completely changed. The death metal is still there, but it's dominated by the prog stuff, especially with all the keyboards. There are more clean sung passages and it feels like the growls are there more for added effect. On previous albums it would be the other way around.
Ghost of Perdition
Harlequin Forest
Baying Of the Hounds
Beneath the Mire
The Grand Conjuration
Isolation Years
Atonement
Hours of Wealth
Reverie
I'm gonna have to do a thorough analysis too, so that I can explain properly the things that I don't like in this album Although it's a lot less than I expected to before I started listening to the album for this game, already went through it like 5 times during the weekend. Anyway, so that Knick (and others) can catch up, I'll leave this round running until Sunday. I'm off to Croatia on Friday morning so won't be able to update until then anyway. Besides we're going through the discography pretty fast, already the 8th album after just 8 rounds.
Although it's a lot less than I expected to before I started listening to the album for this game, already went through it like 5 times during the weekend. Anyway, so that Knick (and others) can catch up, I'll leave this round running until Sunday. I'm off to Croatia on Friday morning so won't be able to update until then anyway. Besides we're going through the discography pretty fast, already the 8th album after just 8 rounds.
Forostar
Ancient Mariner
Nice to see this appreciation. I find this one a very musical album. It combines more different things than on previous albums. Less wall of sound and more subtle and mysterious parts. Lots of melody. And better singing, better guitar solos.
Are Baying and Beneath two songs that were never played live (or hardly)? I'm afraid that might have helped being "forgotten", also in previous editions of this survivor. I love these songs for their calmer parts. What's new here is that we get very rhythmical parts over which these subtle moody sections take place. Great combination. Before, it was often separated. Either hard/rhythmic, either soft, without much (interesting) rhythm. Okay, Damnation had this as well, but it didn't have harder parts, and the rhythms were not as awesome as in these two songs.
Edit:
I just saw a live version of The Baying of the Hounds. It had to be played of course, since they did the whole album:
And here Beneath the Mire from the same show. Michael says they never played it since it was created in the studio.
Last edited:
MrKnickerbocker
clap hands
In My Time of Need
Closure
Ending Credits
Atonement
Reverie
Isolation Years
Closure
Ending Credits
Atonement
Reverie
Isolation Years
Problem with the Opeth survivor is that there aren't many songs to choose from. Each album has maybe one or two "obvious" choices and then you're already killing favorites. As much as I like Baying and Beneath the Mire, they don't stand a chance when the shorter tunes are all gone.
Edit: 3 votes for Face of Melinda wtf. That is a top 10 song.