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OPETH

Tech/Extreme Prog Metal • Sweden


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Opeth biography
Founded in Stockholm, Sweden in 1990

Yes, some people would consider OPETH to be a pure (melodic) Death Metal band but you have to differentiate a lot. The four guys from Stockholm/Sweden feature a lot of different elements on their albums. We have the aggressive death metal with Mikael's growls (which are not generated with help of a computer, it's actually his voice) with lots of breaks, mostly acoustic including Mikael's clear voice. Mr. 舓erfeldt himself always underestimates his clear voice and often points out that he is a novice regarding this kind of singing. But that's not true, false modesty is the term here. His clear voice is warm and simply beautiful. The whole music is guitar orientated, on the one hand we have great riffing for aggressive parts, awesome melodic solos and on the other hand acoustic breaks with admirable melodies with some Scandinavian folk influences here and there and of course Mikael's clear vocals. Sometimes you even get some PINK FLOYD or PORCUPINE TREE like parts or whole songs.

⭐ Collaborators Top Prog Album of 2014 ⭐

⭐ Collaborators Top Prog Album of 2008 ⭐

Sure, the band started out as a pure Death Metal combo regarding to their first release" "Orchid" but from their second release on the prog elements got more and more. The second album "Morningrise" for example features a pure Prog song with PINK FLOYD like parts as well as epic song lengths. Mikael 舓erfeldt who also is the indispensable head of the band, often mentions that he is a proghead and mostly likes bands like CAMEL and PORCUPINE TREE. No doubt, you can hear those influences on albums like "Still Life" and "Blackwater Park" but their highlight regarding to pure Prog for sure is their 2003 release "Damnation" which features an entire album in the style of PORCUPINE TREE. Not really astonishing regarding the fact that Steven Wilson of PORCUPINE TREE is a good friend of Mikael and Peter and even worked together with the band for their double release "Damnation" and "Deliverance". Steven Wilson also produced their album "Blackwater Park" which is regarded as their best work so far, not only by death metal fans but also by many others normally disliking death metal growls (like me). "Damnation" for sure is the album most of...
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OPETH discography


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OPETH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.27 | 678 ratings
Orchid
1995
3.72 | 771 ratings
Morningrise
1996
3.94 | 794 ratings
My Arms, Your Hearse
1998
4.30 | 1685 ratings
Still Life
1999
4.26 | 1759 ratings
Blackwater Park
2001
3.78 | 970 ratings
Deliverance
2002
3.98 | 1331 ratings
Damnation
2003
4.26 | 1638 ratings
Ghost Reveries
2005
3.99 | 1210 ratings
Watershed
2008
3.81 | 1290 ratings
Heritage
2011
4.15 | 1156 ratings
Pale Communion
2014
3.67 | 502 ratings
Sorceress
2016
4.12 | 397 ratings
In Cauda Venenum
2019

OPETH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.12 | 121 ratings
Lamentations: Live at Shepherd Bush Empire 2003
2006
4.09 | 211 ratings
The Roundhouse Tapes
2007
3.40 | 5 ratings
The Devil's Orchard (Live At Rock Hard Festival 2009)
2011
4.25 | 8 ratings
Lamentations Live At Shepherd's Bush Empire
2016
4.31 | 32 ratings
Garden of the Titans: Live at Red Rocks Amphitheatre
2018

OPETH Videos (DVD, Blu-ray, VHS etc)

4.03 | 223 ratings
Lamentations: Live at Shepherd's Bush
2003
4.10 | 158 ratings
The Roundhouse Tapes
2008
4.65 | 248 ratings
In Live Concert At The Royal Albert Hall
2010
4.29 | 21 ratings
Live at Enmore Theatre Sidney Australia
2011

OPETH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.56 | 44 ratings
Limited Edition Box Set
2006
3.99 | 67 ratings
The Candlelight Years
2008
4.25 | 4 ratings
The Wooden Box
2009
2.50 | 2 ratings
The Collection
2014
4.50 | 10 ratings
Deliverance & Damnation
2015

OPETH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.13 | 23 ratings
Apostle in Triumph
1994
4.53 | 47 ratings
The Drapery Falls
2001
4.11 | 35 ratings
Deliverance
2002
4.63 | 49 ratings
Still Day Beneath the Sun 7''
2003
3.15 | 27 ratings
Selections From Ghost Reveries
2005
3.32 | 43 ratings
The Grand Conjuration
2005
4.71 | 7 ratings
Ghost of Perdition
2006
3.02 | 24 ratings
Watershed - Radio Sampler
2008
3.70 | 47 ratings
Porcelain Heart
2008
3.61 | 51 ratings
Mellotron Heart
2008
3.84 | 65 ratings
Burden
2008
4.00 | 3 ratings
Dirge for November - Live
2010
2.83 | 6 ratings
Slither
2011
3.49 | 73 ratings
The Throat of Winter
2011
3.69 | 91 ratings
The Devil's Orchard
2011
3.89 | 9 ratings
Cusp of Eternity
2014
3.33 | 18 ratings
Sorceress
2016
3.00 | 12 ratings
Will o the Wisp
2016
3.08 | 12 ratings
The Wilde Flowers
2016
3.50 | 2 ratings
Book of Opeth
2016
3.27 | 6 ratings
Live in Plovdiv (split with Enslaved)
2017
4.00 | 4 ratings
Ghost of Perdition (Live)
2018
3.92 | 12 ratings
Hj鋜tat Vet Vad Handen G鰎 / Heart In Hand
2019
4.10 | 10 ratings
Svekets Prins
2019

OPETH Reviews


Showing last 10 reviews only
 Sorceress by OPETH album cover Studio Album, 2016
3.67 | 502 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by Isaac Peretz

2 stars Sorceress might be Opeth's most safe and generic album. Saying that it's terrible would feel like a lie, but is it good? Not really.

Heritage was a pretty divisive album in the Opeth fanbase, it was a very rough change in musical direction. But thankfully, Pale Communion came out and proved that Opeth was capable of making high quality progressive rock. When Sorceress' first single came out (its title-track) I actually became very interested in the album, it sounded much heavier but it still kept factors from Heritage and Pale Communion. So when the album was released, I expected some sick riffs, powerful drums, and serious head-banging material all-around the album, while featuring mesmerizing melodies similar to the ones from the two previous albums. So how good was Sorceress?

It was a disaster. A beautiful one. My expectations for this album in my first listen were destroyed by a swarm of unmemorable melodies spread across tracks without any order. It's the absolute definition of "Hit or Miss". Half of its tracks: the title-track, Will O The Wisp, Chrysalis, Strange Brew, and Spring MCMLXXIV make up for a good, enjoyable prog tracklist. Unfortunately, everything else in this album is either filler or completely uninspired music.

The Persephone tracks make up for some nice transitioning between tracks, but two of them? The second part of the title-track has Mikael singing with that god-damned voice-in-the-phone effect. God I hate that voice effect, songs like Harvest, Benighted or Face In The Snow show that Mikael's vocals sound way better without it. And it's not to forget how auto-tuned he sounds in songs like Era. These type of songs stop you from doing full listens of this album.

"Hey I really wanna listen to Sorceress toda- oh wait I'll have to go through those generic filler tracks that take up half of the album? Yeah nevermind...".

It's undeniable that this album has some great moments in it (Specially in the good tracks I mentioned before), but unless you're a die-hard Opeth fan of both eras or Prog-Rock in general, I highly do not recommend this to be your first Opeth album of their first era (Or any of their eras!).

 Ghost Reveries by OPETH album cover Studio Album, 2005
4.26 | 1638 ratings

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Ghost Reveries
Opeth Tech/Extreme Prog Metal

Review by VianaProghead
Prog Reviewer

5 stars Review N?394

"Ghost Reveries" is the eighth studio album of Opeth and was released in 2005. Musically, the album is similar, in style, to their sixth studio album "Deliverance". Still, it retains also the atmospheric elements of their seventh studio album "Damnation". So, it became to be a mix of both albums, with heavy parts with growls, and soft parts with clean vocals. The final result is an album that carries a more gothic sound than what was heard in their two previous musical efforts.

"Ghost Reveries" was initially intended to be a conceptual album, with tracks linking together a story of a man's turmoil after committing an unconscionable act, symbolised by killing his own mother. However, the album only partly portrays a concept. It wasn't arranged in the same way as their two previous releases "My Arms, Your Hearse" and "Still Life".

"Ghost Reveries" is the first album of Opeth to include a keyboardist, Per Wiberg as a permanent band's member. However, Wiberg had already contributed with some keyboard work to Opeth's live performances, which starting around the time of "Lamentations: Live At Shepherd's Bush", released in 2003. By the other hand, "Ghost Reveries" is also the last Opeth's album that includes their drummer Martin Lopez and their former guitarist Peter Lindgren.

So, the line up on the album is Mikael Akerfeldt (vocals, rhythm, lead and acoustic guitars and mellotron), Peter Lindgren (lead guitar), Per Wiberg (Hammond organ, mellotron, grand piano and moog), Martin Mendez (bass guitar) and Martin Lopez (drums and percussion).

"Ghost Reveries" has eight tracks. All songs were written and composed by Mikael Akerfeldt. The first track "Ghost Of Perdition" is absolutely amazing. It starts with a few quiet chords and then explodes into a progressive death metal track. As the song progresses you are introduced to Mikael's beautiful clean voice. This is a song full of great vocals, good chord progressions and excellent musicianship. The second track "The Baying Of The Hounds" starts with a catchy guitar riff accompanied by an organ. This is probably, with the previous track, the two heaviest songs on the album. They're more dead metal songs than the majority of the other tracks on the album. But, they also have some soft moments with clean vocals. The third track "Beneath The Mire" starts with a drum feeling leading into a riff accompanied by strings. After that, the track breaks into slightly slower paced dead metal. Again, the track breaks into some more heavy parts with Mikael using his clean voice. This is probably the strangest song on the album. The fourth track "Atonement" is the first mellow song on the album and it's also the most experimental too. It sounds very Oriental and Mikael sings clean through the song and uses a telephone talk voice. This is a very catchy track, cleverly written with a nice piano in the end. The fifth track "Reverie/Harlequin Forest" is a song with a chord progression of the verse. It's extremely catchy and has a great Lopez's drumming. The song proceeds with great guitar work and Mikael's clean vocals. The song continues with great harmony turning into in one of the most beautiful songs on the album. The sixth track "Hours Of Wealth" is a very beautiful song with a guitar driven, with the addition of Per playing a mellotron over it. The song is complemented by beautiful vocals and acoustic guitar, piano and bass works. Sometimes, the most simple is the best on a song. The seventh track "The Grand Conjuration" is another great track with good drum and keyboard works. It's a song that changes between the heavy to the light, all over it. It's a very typical Opeth's song that sounds right off "Still Life". It's really a song with some great heavy and good light parts. Despite be one of he the heaviest track on the album, it's one of the most accessible pieces of Opeth too. The eighth track "Isolation Years" has a very melancholic feel. The lyrics are some of the most poetic that I've ever heard from Mikael. This is a great way to ending this album. It really relaxes the listener with its wonderful melodies and arrangements, very similar to "Damnation".

Conclusion: "Ghost Reveries" is, in my humble opinion, an album with amazing song writing, with its song length and the diversity of the musical styles involved, absolutely stunning, with incredible vocals, excellent riffs and drumming, beautiful soft parts, with everything combined together by a unique and dark musical atmosphere. The great highlights of the album are, for me, "Ghost Of Perdition", "The Baying Of The Hounds", "Reverie/Harlequin Forest", "Hours Of Wealth" and "The Grand Conjuration". The album has a great commercial potential, yet it's at the same time a truly progressive album and it stays, in my humble opinion, true to their musical roots. This might be an evolution into their music and "Ghost Reveries" can be considered a fantastic album which can easily compete with their classic stuff like, "Still Life" and "Blackwater Park". By the other hand, the addition of a full time keyboardist adds an extra dimension to their sound. This wasn't certainly a good thing for some of their most hard fans. Probably, with this album Opeth will lose a lot of long time fans. However, they probably will gain more listeners than they may possibly be able to lose.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Orchid by OPETH album cover Studio Album, 1995
3.27 | 678 ratings

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Orchid
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

2 stars Opeth first album was already a one of a kind in the metal genre yet not showing band's potential. All band members were in their formative years and the drummer and bass player to be replaced be the trademark alternatives. Singing both clean and growling are average and on the top of the game as we know 舓erfeldt from the turn of millenium.

While you can hear diversity in the sound ranging from brutal death metal, decent heavy metal and acoustic mellow guitars, even a great short piano piece, the compositions are not astonishing. The mood is dark but not nihilistic or anti-Christian. It is surprising that the short acoustic track is not guitar-driven like in almost all cases in the future, it is pure piano beauty. Riffs are usually memorable even though not yet in the typical evil Opeth spirit.

To a progressive rock and even metal fan, this album won't be so pleasing so I will give it 2.5 stars but personally I like it more.

 Damnation by OPETH album cover Studio Album, 2003
3.98 | 1331 ratings

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Damnation
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

4 stars Wanna her progressive rock with feelings?

This release catapulted Opeth to the rest of progressive rock fans who were looking down on them because of growling vocals and death-metal drumming. At the time of the release, I belonged to the second group of listeners and despised other Opeth records but acoustic numbers. With the help of Steven Wilson, the Opeth singer (who was born on the same day in the year as me) shows his sensitive colourful voice and the band confirm that they have outgrown metal sphere since a long time. Tasty acoustic or mellow electric guitar playing is greatly complemented by retro mellotron or contemporary piano as on the masterfully bleak "To rid the disease". And yet vocals are used sparingly to give way to reflective instruments and a couple of nice guitar solos. Playing tasty solos may not be easier than metal riffing and fast soloing. Most of the numbers have some level of melancholy or even depression.

What is missed by lack of flamboyant instrumentaton and complex composition is compensated by rich feelings of introspectiveness. Even though the music is mellow, the chord structure, lyrics and motives remain mostly dark, so typical Opeth. The section after 4:40 in "To rid the disease" is one of the most depressing moments in Opeth discography without being heavy. Something similar will come 9 hours later on "Pale Communion".

Excellent companion to moments which you spent with people that don't want to listen to your complex 12- minute long epics!

 Morningrise by OPETH album cover Studio Album, 1996
3.72 | 771 ratings

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Morningrise
Opeth Tech/Extreme Prog Metal

Review by progtime1234567

4 stars Morningrise by Opeth was the second album released by the band. Opeth was still playing a very heavy black metal and melodic death metal sound back then, and mixed in with the progressive rock influence, it turns out pretty good. The album is very long, with the album including one of the longest songs ever recorded by the band, the epic Black Rose Immortal. The song shows everything the band is about, the death growls, the heavy guitar, the acoustic parts, and the clean singing as well as very melodic parts. Songs like the mentioned Black Rose Immortal and the opening song, Advent, are very good and I thought they were the best songs on the album.

I wouldn't start with this album if you were getting into Opeth, but it is a good album and it's one of my favorite albums that the band has to offer.

 Blackwater Park by OPETH album cover Studio Album, 2001
4.26 | 1759 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by dougmcauliffe

5 stars On Blackwater Park, Opeth is able to channel to production/engineering talents of Steven Wilson to unleash their full potential with unfathomable songwriting ability paired with pure sonic bliss. This album was really a game changer for me and it really opened the door to so much new music. Harsh vocals for one, but also more produced and brutal progressive metal. The album opens with The Leper Affinity which is one of my favorite Opeth songs. It just shows the band seamlessly going from one filthy headbanging riff to another with some sweet softer moments in the mix. Immediately it's clear that the atmosphere of this album is just unparalleled by any of Opeths previous efforts. The closing piano passage is very sorrowful yet hopeful and it's one of the few parts of this album where a glisten of light shines through the bleak cracks and I just love that. Speaking of Bleak, the next track! What a powerhouse of a song, it opens with another nasty riff before coming into a strangely melodic death-growl led verse. The star of the show here is the chorus. Whew, let me tell you about the chorus. It caught me off guard the first time because it opens with the (at the time to me) unfamiliar voice of Steven Wilson. However its these dueling vocals that really set it apart, this chorus section just keeps rising and rising before reaching such a palpable peak with Steven Wilson and Mikael Akerfeldt trading off vocals in mind bending fashion. I remember the exact moment this band clicked for me and it was when I was laying in bed with my eyes closed listening to this album for the first time. I wasn't sure how I felt, but by the time I finished that first chorus I was hooked and there was no turning back. There's some beautiful jazz tinged acoustic guitar playing working as a nice contrast to the brutal nature of much of this track as well as The Leper Affinity. Harvest was another track that really just sold me on the band with a great structure, chord progression, and transcending hook. It's the only fully clean vocal track on this album, however, the next track The Drapery Falls is primarily in the same ballpark. The intro and outro to this song is so sick, its like you're out in the forest as the world melts around you. This is another track with just a super strong chorus and contrast between soft and heavy. There's no death growls until the latter half of the song, and they really hit hard when they finally roll around. At 5:50 it kicks into this hypnotic passage that just repeatedly slaps me across the face every single time, a simply outstanding track. After this track, I find the following songs to be a bit more on the slow burner side. They don't have the infectious chorus's that immediately pull you in, but rather they wow you with their pure progressive density. Dirge For November just sounds like its from another planet. Opening with a very intimate and ethereal acoustic and vocal passage, it doesn't take long before it starts hurling pure Opeth riffage at you paired with some of the most evil sounding growls on this whole record. The outro of this track is just dripping in downcast beauty, a tear jerking moment closing out this song. Over time and with familiarity, The Funeral Portrait has become one of my favorites on the record because it just packs so much replay value. The main riff is incredibly heavy, but its the riff at 2:00 that makes my jaw absolutely hit the floor with just how damn cool it is. It's so high energy and intense throughout, it just gets me fired up. Patterns in the Ivy is a very pretty acoustic instrumental bridge providing the breathing room that we need between two very heavy hitting tracks on the latter half of this album. It's a little weird, but I love how it ends with the sustained piano fading into the title track. It has a subtly menacing and daunting feel to it, as if you can feel that something unsettling is coming, and believe me, it is. The title track is one haunting piece of music, it's very bipolar, but everything about it just works. There isn't a clean vocal in sight on this one as its just 100% straight guttural death coming at you straight out the gate. If you can listen from 1:47 and not uncontrollably head bang, you might have to call up the doctor, cause that riff is simply blinding. However, here brings my sole complaint of this album: I wish that this heavy intro section lasted just a little bit longer before easing into the beautiful soft acoustic section that follows. While I have nothing but good things to say about both of these parts of the song, the shift between the two feels just a little abrupt. Other than this though, there isn't a bum note played or sung (sung?) throughout. The conclusion is just so intense and heavy and it's really the ultimate payoff that this album needs after launching absolute banger after banger at you proceeding this. The sun sets forever over Blackwater Park.

9.5/10

 Deliverance by OPETH album cover Studio Album, 2002
3.78 | 970 ratings

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Deliverance
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

4 stars Deliverance may be the least favourite offering by Opeth in the second classic Opeth era and I can see why - it is less remarkable, inventional than the previous 3 and next 2 albums. Nevertheless it keeps Opeth standards pretty high by setting Opeth marriage of progressive and death metal to the new technical level. All but one songs clock below the 10-minute mark which sounds very promising to any progger.

Vocals are pretty sophisticated, clean vocals are sparse but well sung whereas growling is powerful as however without setting any new milestones. Comparing to former Opeth releases, we have fewer acoustic moments and quite some aggressive sections but that would be more than compensated on the next "Damnation"

"Wreath" has a powerful uncompromising death-metal start but introduces elements of typical slow doomy metal with growling, sometimes even multiple vocal growling and we also have an instrumental heavy metal section with likeable solo. Growling in this song is at its most powerful on this album, sheer steel and power and we are even "blessed" with a high-pitched black metal growl.

"Deliverance" is a great hang-banging compositon with more progressive elements than "Wreath", the main progressive metal motive is strong. Acoustic passage followed by death-metal bass drum are perfectly opposite. Apart from evil riffs, the instrumental workout with the rhythm guitar, bass and drums are an often featured live classic - although I think that the song could be 1 minute shorter.

"A fair judgement" is unlike anything else Opeth did until know - doom and desperate while perfectly accessible and subdued. The middle section fits more to "Damnation" and takes inspiration from Pink Floyd as well as Porcupine Tree. Then we have an excellent emotional guitar solo and absolutely freaking 100% doom metal that Katatonia wouldn't mind having.

"For absent friends" brings all down to quiet earth, a pleasant two-guitar duett.

"Master's apprentices" is a less known track and is also less memorable but the evil riffing and growling make up for it. Poignant Mikael's melody make you feel cosy and moody. Before we get to brutal growling we have a heavy metal intermezzo.

"By the pain I see in others" features electronically adjusted growling and some of Opeth's heaviest death metal moments coupled with subdued mellow "growling". Watch out for a psychedelic Mellotron/synths 3/4 sound like pattern.

This album has a lot of beautiful and wild moments to offer and can't be missed by any open-minded progressive metal fan.

 Deliverance by OPETH album cover Studio Album, 2002
3.78 | 970 ratings

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Deliverance
Opeth Tech/Extreme Prog Metal

Review by VianaProghead
Prog Reviewer

4 stars Review N?379

"Deliverance" is the sixth studio album of Opeth and was released in 2002. It was recorded at the same time that was recorded their follower seventh studio album "Damnation", but it was only released in the following year. However, the two studio albums contrast completely and drastically with each other, purposely dividing the group's two most prevalent musical styles. While "Deliverance" is considered to be as one of the band's heaviest and aggressive studio albums, "Damnation" experiments with a much soft, acoustic and mellower progressive rock influenced sound.

Originally, the group intended for "Deliverance" and "Damnation" to be released at the same time, as a double studio album. However, the record company decided against this idea and released both albums separately, approximately five months apart from one to the other, in order to promote each of them properly, in order to earn more money.

There are two curiosities on "Deliverance". The track "Master's Apprentices" was named due to the name of a proto- prog Australian group of the 60's The Masters Apprentices. The track "For Absent Friends" was named because the song of the same name that originally appeared on the third studio album of Genesis "Nursery Cryme", in 1971.

The line up on the album is Mikael Akerfeldt (vocals and guitars), Peter Lindgren (guitar), Martin Mendez (bass guitar) and Martin Lopez (drums and percussion). The album has also the collaboration of Steven Wilson (backing vocals, guitars, Mellotron, piano and keyboards).

"Deliverance" has six tracks. All songs were written and composed by Mikael Akerfeldt. The first track "Wreath" is one of the heaviest songs that Opeth have ever recorded. It's a fast upbeat song and one of the less melodic too. However, even thought this can be considered one of their heaviest songs, it does have its softer and melodic moments too. This song is really a phenomenal work with its musical atmosphere absolutely devastating, sounding like a piece of music depicting the end of the world. This is really a great track. The second track is the title track "Deliverance". This is a track with a very sinister sound. It's not only the lyrics or the music that makes this song really sounds very evil, but the way how Akerfeldt sings is absolutely strange, amazing and terrifying. The lyrics are just beautiful, describing very accurately and vividly the intentions and actions that are taking place. This is another great track that continues giving a very high note to the album. The third track "A Fair Judgement" is the mellowest song on the album. It starts sounding like it's being played through an old radio. After about a minute and a quarter the song turns into a dreamy ballad, then progressing to a brilliant and heavy lead without seeming to change from mellow to heavy at all. This progression repeats throughout, with no rapid changes. This is Opeth at their best musical experimentation. The fourth track "For Absent friends" is very short and sounds more like a little acoustic interlude. It's basically a filler track, so there isn't a lot to say about it. What can be said is that it's a fairly harmless nice acoustic track with a clean electric lead player over it. It acts as a pretty and nice little intermission for the album and it serves as a neat way to bridge the gap between the two halves of the album and rest your ears a little. The fifth track "Master's Apprentices", despite its simplicity, can be considered as one of the best tracks of the album. The first main riff is one of those ones that have an unsophisticated charm and memorability, and even people that eventually dislike the track, I guarantee that there will be at least few days when you have this song in your head, and find yourself humming along with it. This is another great moment on the abum. The sixth and last track "By The Pain I See In Others" is a brilliant closing track to the album. Akerfeldt experiments with varied growls over an acoustic riff in the song, achieving a very nice sounding effect as a final result. The several musical transitions that have been used all over the song are very enjoyable to hear and they seem to seamlessly flow into each other. The acoustic transitions to the heavy parts are the most notable things here.

Conclusion: "Deliverance" is, in my humble opinion and I'm not a specialist into this kind of music, a great heavy metal album. It's also one of the best progressive metal, atmospheric metal and art rock albums ever. Unfortunately, Opeth's "Deliverance" is an often maligned album in their musical discography for many reasons. But, it's still certainly a very strong musical work in its own right, with some incredible songs that have their very own place in the Opeth's musical catalogue. This is an album with many enjoyable riffs and guitar solos. As usual and always, Akerfeldt's clean vocals are a real joy to listen to over the chaotic guitar riffs. Lopez's drumming, that at some moments reminds me the great John Bonham, is absolutely amazing, constantly innovating and contributing to an already excellent final work. Concluding, "Deliverance" is an excellent album and I hope that fans of good music will get it. Probably, it will be very interesting to have "Deliverance" and "Damnation" as a double studio album combining perfectly well the two musical sides of Opeth. As I like the both sides of the group, I'm going to rate both albums with the same rating. So, 4 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Watershed by OPETH album cover Studio Album, 2008
3.99 | 1210 ratings

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Watershed
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

4 stars Watershed can be considered as the swang song of the traditional Opeth sound. Not comfortable resting on laurels, Opeth show more desire to experiment with new sounds than to stay in the traditional extreme metal territory. We have mellow, almost commercial radio friendly tracks, doses of heaviness, plenty of acoustic moments (for the last time) and a clear tendence to sing in clean vocal. Growling sounds uninspired and the voice has deterioriated since 2005's Ghost Reveries. No wonder also that Akerfeldt left Bloodbath in 2008.

With the first track (tender vocal duett) and "Burden", Opeth entered the world of mainstream rock which is melodic and well executed but also a bit too simple for such a band. One of the most brutal song ever and bearing extreme contrasts is "Heir Apparent". Not my immediate favourite, I started to like it more as I heard it regularly live on concerts - where you experience the contrasts even more. Acoustic guitar, piano, doomy guitar smell something coming down and that is growling and very powerful riffs. Growling and death metal spirit is not as majestic or sophisticated as we usually expect from Opeth - it's mainly about heaviness. Progressive metal with mellotron and acoustic moments with flute are more mature and essential. The definitive headbanging moment comes with brutal death metal a la Bloodbath. Pity that Akerfeldt didn't have the powerful growling vocal anymore to give this song a bit more lasting echoing growl. Many fans also treasure the typical Opethesque chord sequence after the 7-minute mark.

"The lotus eater" has interesting busy death metal drums and combined growling/clean vocals. The inclusion of keyboard is refreshing and sounds more retro. Excellent guitar solo in the middle of the song and later the acoustic guitar bring tender but dark emotions at the right spot. The progressive rock retro section with electric piano is a precursor to later sound of Opeth.

"Porcelain Heart" is again from the doomy world but we manage to get a heavy/progressive metal instrumental section and harmony clean vocals. The clean acoustic Akerfeldt led passage reminds me of "The moor" "Hessial Peel" is the closest nod to progressive rock, well developed. However, the song gets heavy in the second half maybe reminding us that Opeth come from the metal corner but prefer being progressive at any time. We also get growling after a long time, not sure if it brings much to the song development but it can considered a heaviness climax.

"Hex Omega" could be a sister to "Porcelain heart". Kudos for nice electric piano playing. The mischevious chord structure can only be played by Opeth so well.

It is my least preferred traditional Opeth album. I admit I don't like so much the compositions but playing and sound are excellent. The band has made another step (forward) and that should count for progressive fans.

 Heritage by OPETH album cover Studio Album, 2011
3.81 | 1290 ratings

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Heritage
Opeth Tech/Extreme Prog Metal

Review by Lewian
Prog Reviewer

4 stars I'm one of those who don't like death growls and by implication didn't like Opeth in their beginning, although I have some respect for what they did there. I still don't know all of their catalogue, so I can't say Heritage is my favourite of them (it surely is of those about six I know), but I was motivated to write this review by its somewhat lowish rating compared to other Opeth albums. Obviously my four stars are not going to improve this a lot, however I recommend this album warmly to listeners who come from a different direction than most Opeth listeners, namely neither from Death Metal/earlier Opeth, nor from Neoprog or say Dream Theater or PT, nor from the more symphonic and mainstream prog of the seventies (although I love quite a bit of the latter), but rather from a more experimental, RIO-like angle.

Actually this one came to me later than 2018's "Collaborators Album of the Year" A Drop Of Light by All Traps On Earth, but in fact it achieved something quite similar and in my opinion even better seven years earlier than the (also Swedish) Traps, admittedly without the Zeuhl element, but still dark, complex, and adventurous. "Compensating" for the lack of Zeuhl, we get a good dosis (if somewhat less than on some other albums) of Opeth's well known delicate acoustic guitar work that I admire, and that has always set them apart from their Death Metal roots. Although the album has obvious links to 70s prog, there are some clear characteristic Opeth elements in this. It is certainly not just a nostalgic album based on elements of prog's golden years, but an album that stands confidently on its own feet.

A problem with much new prog is the sometimes routine and soulless seeming showing off of instrumental skills and complexity. A problem for me as a reviewer is that I find it hard to pin down what makes the difference between a superficial showing of skills and some musical magic that really grabs me. Anyway, Opeth manage to do that here. I can connect to much of the music emotionally and things seem to be properly in their place despite no lack of virtuosity, harmonic and rhythmic complexities etc. There is tension, relaxation, vulnerability, sudden outbreaks of energy, beautiful melodies, you name it. Apparently the contrast between heavy and delicate acoustic parts is something of an Opeth trademark, and both is still there, but far more elements are mixed in. which makes the whole thing far less predictable and more interesting than what I know of their earlier material.

The album has been called "messy" for a reason, and indeed you find a dazzling and sometimes bewildering variety of different parts. One valid criticism is that rather than the 5-6 minutes average official song length in fact there are far more "microsongs" here, as cohesion within a song has obviously not been their first priority. However according to my taste they give the different parts enough space to breathe and show their beauty, and I don't mind much that traditional song structures and the notion of coming back to the main theme to remind the listener that it's still the same song are sniffed at here. Another tiny criticism is that the singer may not be the most exciting one in the world, but I think he is largely OK for what he does here, so no complaints really.

If you like some traditional prog virtues combined with an experimental approach that gives you something that is still tonal and accessible but at the same time delightfully unpredictable and more on the dark side of things, even if you haven't liked some other stuff by Opeth, check this one out. A special recommendation goes to those who love A Drop Of Light. This Heritage is a rewarding listen and shows Opeth in proper and successful progression. 4.0 stars.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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