Orchid is not a perfect Opeth album, nor a great album, but it has a true air of magic about it. This is one of the creepiest-sounding, most atmospheric Opeth albums despite being crammed with riffs, insane tempo and rhythm changes, and an overall amateur take on complex songwriting. Something of the occult lives in the heart of
Orchid.
In Mist She Was Standing - Nearly two minutes of swinging, counterpoint pirate riffs before the evil chord from hell and the first taste of a real Opeth musical section. The vocals are adequate, but don’t stand out in any way. Mikael’s first “OOH!” into that killer groove is amazing. Then we come to the first of many acoustic arpeggio sections and I remember that they are part of what I don’t love about this album. The arpeggios that appear throughout the album are all incredibly similar and make it hard to differentiate between parts and songs. Granted, they fit here (and often in other places), but it’s all a bit much. The constant shifts in dynamics continue throughout this mini-epic and it’s all very entertaining stuff. I love the bass buildup halfway through, it’s really powerful. The random, “SCREAM! SCREAM! SCREEEEEEAAAAM!!!!” section after it, however, I could do without. By the time the pirate riffs return I think the song has overstayed it’s welcome, but then comes that Devil’s Turnaround section at 9:30 and I’m still content to be listening. Kind of like Black Rose Immortal on Morningrise I think the song could end with Mikael whispering the title, but what comes after it is really quite tasty: dark minstrel music leading into a killer outro. It could end cleaner, but I’m splitting hairs. Not incredible, but a very strong (re: ballsy and pretentious) opening track from a debut album.
8/10
Under the Weeping Moon - A very effective intro made even cooler by the riffs kicking in (and that bass slide FTW)! This is a much more structured song and I really appreciate it. It hints at some of the songwriting we will hear on future releases. The swirling guitar that comes in before the breakdown is so incredible, followed by Mikael’s incredibly evil wail layered over just the guitars. I used to hate the mid-section, but goddamned if it’s not a perfect use of tone and sinister ambiance. The panning really works for them on this album. The slow plod of the drum buildup into the double bass, followed by the intense chugging is truly masterful. It’s something that a band playing it safe would never do, but Opeth are just the right amount of genius, insane, and daring to pull it off. Once again, the bass kills it in this song (especially that jazzy walking stuff happening about 7 minutes in). It’s weird that these pre-Mendez albums seem to have more standout bass lines - a matter of mixing or stylistic choice? Anyway, this song isn’t perfect, mostly because of the vocals. I’m not a fan of Mikael’s whispering. Still a great tune, though.
9/10
Silhouette - I love this piece, but it’s not perfect and it’s not really a song. I feel like if this album came out in 2002, this would have been a hidden track. Anyway, brilliant playing and it’s just plain spooky. Also so random considering the band had no keyboard/piano player, yet this song features nothing but.
7/10 - but will be getting a vote
Forest of October - The intro is cool, but I feel like the song would have been more effective starting with the guttural wail and the double bass (especially coming out of Silhouette). I know people love this song, but it feels so scattershot and incoherent to me. The parts are all
so brief and nothing ever really builds. I love the dynamics, I just wish they had more time to develop or return. The “OOH” section around 3:15, for example, really could have built to something incredible instead of just cutting out after 10 seconds. I get it, it’s prog, it’s death, it’s a little black, but this is the kind of thing Mikael will start realizing after Morningrise and, IMO, it’s all for the better. Not to mention, that stomp riff is so much cooler than the pirate riff they develop over an entire verse. The guitar solo part is awesome, but the acoustic section that precedes it feels unnecessary. Just like Weeping Moon, the mid-part droning is wonderfully creepy and beautiful once the acoustics and then heavy guitars come in. I far prefer the second half of the song, mostly because of the “Forest of October” vocal section (actually catchy!) and the amazing interplay riff w/ the bass and guitars that follows. The outro riff that comes in under Mikael’s clean crooning is really neat. I wish it ended the song, as the acoustic passage feels tacked on.
8/10 - probably will vote for next round.
The Twilight is My Robe - This song kicks my ass from the get-go and I love it. More pirates! The bass-led first verse is great, as is the way it builds. Mikael sounds confident as hell on this track. Shades of his future growl appear here and they are quite malevolent. The different passages of this song really flow together well for me, more so than any other song on the album (including Weeping Moon). I absolutely adore the middle part, beginning with the clean vocals into the clean guitar leads. It’s probably my favorite part on the album. It’s the first time (other than Silhouette) where I really feel the emotion in the songwriting. And then: that bass kicks in and makes it even better. There’s a strange guitar interplay after this part that sounds Christmasy, right before the acoustic return around 7 minutes in (and what beautiful acoustics they are). Anyway, I love this song and I will hear nothing bad about it.
10/10
Requiem - Half-complete and honestly pointless. It’s pretty, it’s performed well, but it could be cut from the album and nothing would really be lost. Actually, I would prefer it were a long intro to Apostle, as the beginning of that song actually sounds rather similar. A good guitar tune and a nice change of pace, but not of much value as a single track.
7/10 and a vote for the interlude
The Apostle in Triumph - I like the intro, but by this point everything starts to sound the same. I really, really hate the “The rain is pouring down my, NOW!, shivering shoulders” line. It’s just terrible. But, music redeems all again in this song as it continues to loop through twisty counterpoint melodies, acoustic jams, and pummeling double bass. The entire section at 5:20 sounds incredibly advanced and again hints at Opeth’s future. Reminds me possibly of something from MAYH or BWP? Anyway, everything from that on moment is golden, especially “carved on a black stone” and the volume swell/violin section that follows. The melodic riff that comes in around 9 minutes is stellar. The whispering at the end is lame and reminds me of Iced Earth for some reason. Overall, a very good song, though not my favorite.
8/10
One of the most interesting aspects of this album is that, contrary to later Opeth releases, it works in spite of Mikael’s vocal melodies. His voice is what defines this band to me and his melodies are generally a thing of beauty. Yet, on these early albums he hasn’t honed his vocal craft and the lyrics/melodies often sound forced, phoned in, unconfident, or just plain afterthoughts. It’s a testament to his raw talent (and that of the other members) that his still-maturing voice does not drag down this material.
I’ve only spun
Morningrise once so far, but my votes for this first round are very clear and obvious.
- both interludes from Orchid
- both terrible basement demos
- Advent and Nectar, being definitely the weakest tracks on the album (and some of my least favorite overall)
Gonna try and get to it today.