OPETH “Blackwater Park” /CD/

Special Edition of the eleventh full-length album by the cult Swedish Progressive Rock band.
The new material finds Opeth once again challenging the boundaries of extreme music. Stronger vocal melodies and more melodies overall...
When Opeth released "Heritage" in 2011 - the wonderfully indulgent, somewhat unfocused exercise in Prog Rock aesthetics - some longstanding fans were offended because the band had abandoned Death Metal. Truthfully, they had been exploring Prog in fits and starts since 2005's "Ghost Reveries". "Pale Communion" completes the transition, proving that "Heritage" was not only a next step, but a new beginning altogether. Vocalist, songwriter, and guitarist Mikael Åkerfeldt has obviously been listening to loads of Prog in the interim: ELP's debut, Deep Purple's "In Rock", early King Crimson and Eloy, National Health, U.K., Bill Bruford's early solo work, Pär Lindh, and even Jazz Fusion.
Produced by the singer and mixed by Steven Wilson, "Pale Communion" states its ambitions outright. Opener "Eternal Rains Will Come" explodes with knotty, labyrinthine organ (from new keyboardist Joakim Svalberg) and Martin Axenrot's skittering, propulsive drums. Åkerfeldt's and Fredrik Åkesson's serpentine yet raucous guitars and Martín Méndez's fat, humming bassline kick in immediately thereafter. They all stop on a dime to be replaced by flute and acoustic piano. After another few moments, they return to establish the song's vamp and melody. Åkerfeldt's multi-tracked vocals don't enter until three minutes in, then give way to a dazzling finish provided by a guitar solo and massive swathes of organ and Mellotron. Lead single "Cusp of Eternity" employs repetitive Metal guitar and bass riffs, while the modal melody suggests Middle Eastern origins. "Moon Above, Sun Below" is the set's hinge piece and longest track. It contains no less than five sections in nearly 11 minutes. These are introduced variously by samples of Tibetan thigh-bone trumpet and vibraphones, as well as acoustic guitars, Rhodes piano, thundering organ, anthemic electric guitars atop cracking rim shots, kick drum, and a forceful bassline that creates dynamic textural passages illustrating the rage, loss, and acceptance in Åkerfeldt's lyrics. "Goblin" is an instrumental, a tightrope walk between Hard Rock and Jazz fusion, and it's among the finest things here. This is countered by "River", with rich, multi-layered vocal harmonies, 12-string, piano, glistening cymbal, and snare, highlighted by a melodic electric guitar solo à la Argus-era Wishbone Ash. The Metallic syncopation in "Voice of Treason" is dramatic with Eastern interludes via the primary instruments, painted by Mellotron as Åkerfeldt soars. The first half of closer "Faith in Others" is instrumentally sparse; it begins reaching for the skies about halfway through, but gets dialed back to allow the gorgeous melody prominence.
"Pale Communion" is more focused and refined than "Heritage". Though they readily display numerous musical influences here, ultimately Opeth sound like no one but themselves. This set is a massive leap forward, not only in terms of style but also in its instrumental and performance acumen; it is nearly unlimited in its creativity!
Fans of the last few albums need not worry: Mikael & Co stick to their brand of 70s Prog and influenced by Rainbow and Led Zeppelin!
"Pale Communion" is the first album with keyboardist Joakim Svalberg after the departure of Per Wiberg in 2011.
Special Edition features expanded artwork, Download-Coupon and bonus Blu-Ray Disc with: 5.1 surround audio mix of the album and two bonus tracks, recorded live at Stockholm Sodra Dentern, March, 3, 2014!!
Roadrunner Records, 2014 (RR7573-5). Made in Germany. First press.


Tracklist:

CD:
1. Eternal Rains Will Come 6:43
2. Cusp Of Eternity 5:36
3. Moon Above, Sun Below 10:53
4. Elysian Woes 4:48
5. Goblin 4:34
6. River 7:33
7. Voice Of Treason 8:00
8. Faith In Others 7:41

Blu-Ray Disc:
1. Eternal Rains Will Come (5.1 Mix) 6:43
2. Cusp Of Eternity (5.1 Mix) 5:36
3. Moon Above, Sun Below (5.1 Mix) 10:53
4. Elysian Woes (5.1 Mix) 4:48
5. Goblin (5.1 Mix) 4:34
6. River (5.1 Mix) 7:33
7. Voice Of Treason (5.1 Mix) 8:00
8. Faith In Others (5.1 Mix) 7:41
9. Solitude (cover Black Sabbath) 5:58
10. Var Kommer Barnen In (cover Wolfe United) 5:51
Total playing time: 123:25 min.

Re-release of the debut full-length studio album by legendary Swedish Progressive Death Metal band.
Few bands have managed to capture the essence of their own art already in their very first recorded effort. Describing the music of Opeth is yet another difficult assignment, as the Progressive Death Metal label, which is often attached to their style, is far from incorrect but equally far from descriptive. The band’s Death Metal roots are obvious in their approach to intricate riffing and sudden tempo changes, although they never reach what the average listener would call fast paces; to this basic formula, Opeth add a huge does of melodic taste in the form of countless harmonies, tasteful acoustic passages and occasional clean vocals. This isn’t that much explanatory either, but then again, a band whose songs have an average duration of ten minutes needs to be experienced to be fully appreciated. This is a collaboration of so many different genres and styles of music that it is nearly unclassifiable. There are definitely elements of Death Metal, Traditional Metal, Doom Metal, Progressive Rock and even Jazz. There are definitely more elements, but Opeth takes all of these different styles and molds them together seamlessly. Exceedingly heavy riffs turn into Death Metal crunch, which then turns into a haunting acoustic passage, almost as if it was completely natural to bend a multitude of genres into a new sound. The musicianship is excellent. One should notice the difficulty of the riffs that are played immediately, especially if they’re a guitar player as well. The songwriting is excellent; everything seems to have its place. Each track on this album is exceptional on its own.
Opeth showed the world that they were the masters of Progressive Death Metal. “Orchid” is a true work of art from a band, that made excellence as its standard quality share!
Re-edition contains bonus track "Into The Frost Of Winter".
Tanglade Ltd./Candlelight/Spinefarm Records, 1995/2016 (CANDLE724765). Made in EU.


Tracklist:
1. In Mist She Was Standing 14:09
2. Under The Weeping Moon 09:52
3. Silhouette 03:07
4. Forest Of October 13:05
5. The Twilight Is My Robe 11:01
6. Requiem 01:11
7. The Apostle In Triumph 13:01
Bonus Track:
8. Into The Frost Of Winter 06:20
Total playing time: 71:46 min.

First re-release of the sixth full-length album by the cult Swedish Progressive Death Metal band.
Following up a nearly ubiquitous critical smash such as 2000's "Blackwater Park" might seem like a daunting proposition for most bands, but Sweden's Opeth has made a career out of proving it is not just any other band, wowing observers with its boundless creativity and seemingly effortless brilliance. With producer (and Porcupine Tree leader) Steve Wilson once again on hand to assist in Opeth's quest to remain true to its origins while progressing ever forward, the band's sixth volume, "Deliverance" offers no great departure by established standards, but rather continues exploring the possibilities of this very fruitful relationship. And sure enough, for all of its continued aggression and overall compliance with Death Metal's key elements - blastbeat drumming runs, Mikael Akerfeldt's frequently croaked vocals and eternally bleak lyrics - "Deliverance" is altogether more subtle than any of its predecessors, approaching listeners with haunting nuances and masterful dynamics rather than overwhelming them with sheer mass and complexity.
Dominated as always by imposing ten-plus minute musical movements, this is creative evolution driven to perfection. Both opener "Wreath" and the ensuing title track eschew traditionally crushing Death Metal riffs for no less pummeling, hammered staccatos delivered with near-Industrial precision. The culmination of this quest for fluidity, third movement "A Fair Judgement" is not only the album's most accessible number, it's arguably also the best. Clearly the evolutionary successor to previous dam-bursting experiments such as Still Life's "Face of Melinda" and "Blackwater Park" 's "The Drapery Falls", its striking harmonies are borne out with a stately, elegant grace punctuated by what is sure to be one of the year's most beautiful guitar solos. A two-minute acoustic interlude called "For Absent Friends" allows for a short break prior to the album's two equally challenging but rewarding final epics, the incredibly multifaceted "Master's Apprentices" and the especially violent "By the Pain I See in Others".
All in all, some naysayers could very well label "Deliverance" as something of a "Blackwater Park" redux, but this would be a shortsighted reaction given the album's remarkable individual achievement. The fact remains that Opeth is still quite without peer in its contribution to advancing the cause of Heavy Metal in the new millennium, and in that light, "Deliverance" stands as yet another work of towering vision from this incredible band!!
"Deliverance" peaked on Top Heatseekers at No. 16 and the Top Independent Albums chart at No. 19, making it the first Opeth release ever to chart. Opeth also won a Grammy Award for Best Hard Rock Performance after releasing the album.
Music For Nations/Sony BMG Music Entertainment (UK) Ltd., 2002/2006 (82876832732). Made in Germany.


Tracklist:
1. Wreath 11:10
2. Deliverance 13:36
3. A Fair Judgement 10:23
4. For Absent Friends 2:17
5. Master's Apprentices 10:32
6. By The Pain I See In Others 13:50
Total playing time: 61:48


Samples: http://www.last.fm

Special Edition of the tenth full-length studio album by the cult Swedish Progressive Rock/Metal/Jazz/Fusion band.
The album was recorded in early 2011 at Atlantis/Metronome Studios in Stockholm and produced by Mikael Åkerfeldt, engineered by Janne Hansson, and mixed by Steven Wilson (Porcupine Tree, King Crimson). The album signals a departure from the musical style of Opeth's past albums, being one of only two albums by the band not to feature Åkerfeldt's signature Death growls (the other being "Damnation"). "Heritage" finds the Swedish band abandoning Death Metal: no growled vocals, no blistering fast power riffs and no blastbeats.
“Heritage” is easily Opeth's most musically adventurous recording. Written primarily by vocalist/guitarist Mikael Åkerfeldt, these ten songs are drenched in instrumental interludes, knotty key and chord changes, shifting time signatures, clean vocals, and a keyboard-heavy instrumentation that includes Mellotrons, Rhodes pianos and Hammond organs (ironic since keyboardist Per Wiberg left the band after "Heritage" was completed).
Opening with the title track, a haunting solo piano instrumental, it careens into the explosive "The Devil's Orchard", with spectacular, arpeggiatic guitar work by Fredrik Åkesson and matching drums by Martin Axenrot. With a huge, swirling B-3 in the backdrop, it melds Progressive Metal to Prog Rock, with Åkerfeldt's clear, clean singing. "I Feel the Dark" marries Åkerfeldt's classical guitar to piano, flute, a droning Martin Mendez bassline, and double-timed, quietly tense drum kit work. "Slither" sounds like Motörhead meeting early-'70s Deep Purple. "Nepenthe" begins as a ballad but shifts toward Jazz-Rock in the instrumental break before finding its way back to a middle ground with sparse instrumentation and taut dynamics. "Haxprogress" draws real inspiration from King Crimson; Mellotrons and nylon-string guitars give way to Åkerfeldt's crooning, thundering bass-lines, and syncopated drums. At eight-and-a-half minutes, "Famine" is the album's most abstract cut, with guest Alex Acuña adding Latin percussion to the mix, creating spaciousness in a long intro before giving way to colliding Prog Rock at the seam where King Crimson's "Larks Tongues in Aspic, Pt. 2" meets Jethro Tull's "Thick as a Brick." "The Lines in My Hand" is the set's most aggressive cut, with a deeply satisfying guitar crunch. "Folklore," with its myriad instrumental and vocal parts, complex melody, and breakbeats, comes off as an eight-minute suite before closing with another Jazz- and Rolk-inflected instrumental entitled "Marrow of the Earth."
Love it or hate it, "Heritage", for its many excesses (and stellar conception and execution) is a brave album. It opens the door for Opeth to pursue many new directions and reinvent themselves as a band.
Album has a critical and commercial success, and sold 19,000 units in the United States in its debut week, charting at number 19 on the Billboard 200.
Approached with an open mind, "Heritage' will certainly prove a rewarding listen for most experienced fans of the band, an album containing all the signature twists & turns that has become Opeth's trademark, albeit in a way totally new for the band. "Heritage" is arguably the band's 10th magnum opus in it's now 20 plus year career and without a doubt represent the grandest vision yet captured on an Opeth album!
Special Edition features 3D cover and bonus DVD with 5.1 mix of entire album, two bonus tracks and making of the album documentary!!
Roadrunner Records, 2011 (RR7705-2). Made in Germany. First press.


Tracklist:

CD:
1. Heritage 2:03
2. The Devil's Orchard 6:39
3. I Feel The Dark 6:41
4. Slither 4:03
5. Nepenthe 5:40
6. Häxprocess 6:57
7. Famine 8:32
8. The Lines In My Hand 3:49
9. Folklore 8:19
10. Marrow Of The Earth 4:19

DVD:
1. Heritage (5.1 Mix) 2:03
2. The Devil's Orchard (5.1 Mix) 6:39
3. I Feel The Dark (5.1 Mix) 6:41
4. Slither (5.1 Mix) 4:03
5. Nepenthe (5.1 Mix) 5:40
6. Häxprocess (5.1 Mix) 6:57
7. Famine (5.1 Mix) 8:32
8. The Lines In My Hand (5.1 Mix) 3:49
9. Folklore (5.1 Mix) 8:19
10. Marrow Of The Earth (5.1 Mix) 4:19
11. Pyre 5:35
12. Face In The Snow 4:05
13. Making Of Heritage 11:14

Total playing time: 134:58

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The tenth full-length studio album by the cult Swedish Progressive Rock/Metal/Jazz/Fusion band.
The album was recorded in early 2011 at Atlantis/Metronome Studios in Stockholm and produced by Mikael Åkerfeldt, engineered by Janne Hansson, and mixed by Steven Wilson (Porcupine Tree, King Crimson). The album signals a departure from the musical style of Opeth's past albums, being one of only two albums by the band not to feature Åkerfeldt's signature Death growls (the other being "Damnation"). "Heritage" finds the Swedish band abandoning Death Metal: no growled vocals, no blistering fast power riffs and no blastbeats.
“Heritage” is easily Opeth's most musically adventurous recording. Written primarily by vocalist/guitarist Mikael Åkerfeldt, these ten songs are drenched in instrumental interludes, knotty key and chord changes, shifting time signatures, clean vocals, and a keyboard-heavy instrumentation that includes Mellotrons, Rhodes pianos and Hammond organs (ironic since keyboardist Per Wiberg left the band after "Heritage" was completed).
Opening with the title track, a haunting solo piano instrumental, it careens into the explosive "The Devil's Orchard", with spectacular, arpeggiatic guitar work by Fredrik Åkesson and matching drums by Martin Axenrot. With a huge, swirling B-3 in the backdrop, it melds Progressive Metal to Prog Rock, with Åkerfeldt's clear, clean singing. "I Feel the Dark" marries Åkerfeldt's classical guitar to piano, flute, a droning Martin Mendez bassline, and double-timed, quietly tense drum kit work. "Slither" sounds like Motörhead meeting early-'70s Deep Purple. "Nepenthe" begins as a ballad but shifts toward Jazz-Rock in the instrumental break before finding its way back to a middle ground with sparse instrumentation and taut dynamics. "Haxprogress" draws real inspiration from King Crimson; Mellotrons and nylon-string guitars give way to Åkerfeldt's crooning, thundering bass-lines, and syncopated drums. At eight-and-a-half minutes, "Famine" is the album's most abstract cut, with guest Alex Acuña adding Latin percussion to the mix, creating spaciousness in a long intro before giving way to colliding Prog Rock at the seam where King Crimson's "Larks Tongues in Aspic, Pt. 2" meets Jethro Tull's "Thick as a Brick." "The Lines in My Hand" is the set's most aggressive cut, with a deeply satisfying guitar crunch. "Folklore," with its myriad instrumental and vocal parts, complex melody, and breakbeats, comes off as an eight-minute suite before closing with another Jazz- and Rolk-inflected instrumental entitled "Marrow of the Earth."
Love it or hate it, "Heritage", for its many excesses (and stellar conception and execution) is a brave album. It opens the door for Opeth to pursue many new directions and reinvent themselves as a band.
Album has a critical and commercial success, and sold 19,000 units in the United States in its debut week, charting at number 19 on the Billboard 200.
Approached with an open mind, "Heritage' will certainly prove a rewarding listen for most experienced fans of the band, an album containing all the signature twists & turns that has become Opeth's trademark, albeit in a way totally new for the band. "Heritage" is arguably the band's 10th magnum opus in it's now 20 plus year career and without a doubt represent the grandest vision yet captured on an Opeth album!
Roadrunner Records, 2011 (RR7705-2). Made in Germany. First press.


Tracklist:
1. Heritage     2:05 
2. The Devil's Orchard     6:40 
3. I Feel The Dark     6:40 
4. Slither     4:03 
5. Nepenthe     5:40 
6. Häxprocess     6:58 
7. Famine     8:32 
8. The Lines In My Hand     3:49 
9. Folklore     8:19 
10. Marrow Of The Earth     4:19
Total playing time: 57:05