[Silhouette] was recorded just hours before they were leaving the studio and is a brief piano interlude. They were impressed that Anders Nordin played the piano very well. Lindgren said, "I remember the look on Dan's face when we said, 'Our drummer can play the piano.' He didn't believe a word we were saying. Dan can play the piano. Most guys play like shit. When Anders started playing, Dan was actually impressed." Åkerfeldt later said, "I'm still quite impressed."
Opposite for me. A 13 minute song with 2 minutes of fluff at the end isn't too bad, especially if the previous 11 minutes are great. I guess it depends more on where the fluff is located too.If I have one kind of beef it is exactly this. I do not take it very lightly when appreciating a long epic song.
That helps doesn't it? How would those other old songs sound in Royal Albert Hall? Very awesome as well I bet.It was fucking awesome live, too.
But the Martins aren't Anders and De Farfalla either! These guys really added colour to the early albums. I do not feel the same with later Opeth. The rhythm is just there, playing along.This survivor has increased my appreciation for the rhythm section on early Opeth. They are not the Martins, but Anders and De Farfalla have a lot of great moments on both albums.
I agree with most of what you said, but not this part. Mainly because Still Life is the most complex Opeth album from a guitar playing standpoint.On Ghost Reveries and Watershed the music gets more complex again, by now he's more used to handling vocals and playing difficult music.
So, in a way, I see the absence of all this detailed guitar stuff we're hearing as a sacrifice because the vocals got more priority.
This is blasphemous. Martin Lopez is one of the most creative drummers in metal ever. He certainly isn't just playing along. Axenrot isn't either, especially during the Heritage and beyond era. Drums have more room to improvise than they did in early Opeth. I can see the point with DeFarfalla and Mendez though, it is true that DeFarfalla looked for the spotlight more than Mendez does. (Which is why he got fired from the band, incidentally)But the Martins aren't Anders and De Farfalla either! These guys really added colour to the early albums. I do not feel the same with later Opeth. The rhythm is just there, playing along.
That...is true. Although, I think Forostar may have been commenting more on the complexity of the arrangements VS. the complexity of the riffs themselves. For instance, a really challenging Still Life riff played by two guitars, still leaves more room for vocals than two moderately complex riffs playing different melodies at the same time a la the first two records.Harmonic guitars and the use of counterpoint go away, but they aren't any more complex than what they began to do. On the contrary, in fact, riffs on Orchid and Morningrise are easier to play than the stuff on the other albums.
I would agree, but I would also consider Heritage a transitional record. I'd group them like so:MYAH is a very transitional record and is still the oddball in the Opeth discography. Otherwise you could neatly put all the other Opeth albums in pairs.
The part at 3:30 is one of my favorites from early Opeth. Earlier you asked if a neat melody in Black Rose Immortal was being played by Peter, and if it was coming from the left speaker I believe it was. On the live albums Mikael is always panned to the right, as is the case in this section at 3:30 where he's playing the arpeggios and Peter is playing the "lead." And I think there's only two guitars here.The Night and the Silent Water
- the following acoustic part (very relaxed, "silent"), I think I hear at least three guitars, very nice, with that pumping bass.
I agree that the part at 6:51 is amazing. There's a lot of great sections in this song that I forgot about (or rather simply thought they were part of other songs since these first two albums kind of blur together). The outro to this song is probably early Opeth's coolest. However, the section at 5:00 is nauseatingly bad. I understand that they were going for this big dissonant "chaos" sound, but it is awful and I'm glad they learned how to do this more properly on later albums.Nectar
- 6.20: another lovely acoustic interaction... stopping and followed by possibly the best acoustic section of the album (6:51-7:21).
I will give Advent credit, because along with some parts in Black Rose Immortal it has one of the few brutal sections on the album at 9:20. Amazing bass and riffage; the stop and unintelligible growling at 9:58 is perfect. However, the song in general does feel overlong and doesn't hit me in the same way Night, Black Rose, and TBYF do.Perhaps I'm craving more for strong memorable melodies/harmonies. I do not hear these same highlights in Advent.
This is absolutely true. I wish they'd play Godhead's Lament or Moonlapse Vertigo (my favorite) or Serenity Painted Death more often live.Still Life is the most complex Opeth album from a guitar playing standpoint.