PALE COMMUNION

Heavy electricity is the first thought that comes to mind when hearing Opeth's latest, critically lauded release, "Pale Communion". The haywire activity is tempered by a softer side, a detail-oriented recall of other styles well within the prog frame work, certainly more focused on creating melancholic moods and more solemn atmospheres. Like a few fans, I prefer the melodic swoon of past albums like "Damnation", a clear influence on this recording, as leader Mikael Akerfeldt opts for a more symphonic situation to expound on his internal frailties.

"Eternal Rains Will Come" possesses a doomsday disposition, morose and apocalyptic, a cauldron of slithering sounds that weave between despair and delirium, impossible swirls of bombast coupled with serene, almost medieval sections, muscled by a tight rhythm section with newcomer Martin Axenrot supplying some terrific propulsion. The main mellotron-doused melody is an emotional bulldozer, profound and forlorn, with Akerfeldt's voice delivering intensely.

The heavier "Cusp of Eternity" flexes some serious tendons, the chorus in particular grabbing one's immediate attention, as the vocal veers near hypnotized prayer, or at least some semblance of forgiving finality. Lead guitarist Fredrik Akesson does some Holdsworthian stylings that are a joy to behold, the crew tight as a screw, Joakim Svalberg's smoking mellotron oozing hymn-like splendor and the nimble Axenrot doing some clanging damage on his cymbals.

The first major epic is the 10 minute + hurricane "Moon Above, Sun Below", a platform for the Swedes to get hot, oiled and bothered, sounding close to their Polish pals in Riverside but ruled by a dense onslaught of symphonic keyboards. This is balanced by another Renaissance-style acoustic guitar-led etude that shines ever so brightly, buoyed by another fragile Akerfeldt vocal. Slowly, the tension is upgraded into another delirium-infested intervention, including a disturbing organ lead that seems to have been plugged into a cemetery socket. Shifting gears on a straight ahead musical highway only heightens the sense of unending adventure, exhilarating and intrepid. The piano finale is beyond beauty.

The softer side is elegantly anointed with a rather stunning piece, "Elysian Woes" has a near early Genesis feel, what with rich acoustic guitars weaving a sleek tapestry of sound, all delicacy and substance. The gentle drums enter, a refined mellotron in tow and a powerful vocal that is literally dripping with melancholia and pain.

The aptly titled "Goblin" provides an instrumental jam that seeks to underscore the musical talents available, an almost jazz-rock section led by a furious e-piano (love that instrument) with a manically repetitive guitar riff that paralyzes the defenses, as the boogie-woogie roller organ kicks in with unrelenting determination. Absolutely riveting stuff.

The controversial "River" is considered as one of the highlight moments on a set list of highlight tracks, offering up a curiously more country-like feel, almost like British band Traffic or the Allman brothers with tons of slick organ frills, rebellious guitar licks, as well as sublimely solid bass lines from Martin Mendez and Axenrot's flexible drum beats. The magnificent mellotron creeps in again to further confound and excite the senses. The raucous finale is shoved along by some massive vocalizations that reach for the stars.

The murky, doom-laden "Voice of Treason" infuses a Middle Eastern tinge, perhaps a musical discourse on current times and ongoing millenary issues. Axenrot supplies a dynamic binary assault that really stands out in its simple complexity, the bombastic synthesized electronics given this 8 minute piece an ominous almost grisly tone, pained vocals only adding to the impression. The reptilian bass shows little mercy, the chorus is nearly celestial with Akerfeldt going into overdrive and the sincerity utterly apparent, especially the broken and fragile outro. Gulp!

I am a sucker for anything even remotely resembling King Crimson's mythic anthem "Epitaph", as I, among many others, view this symbolic track as a prog icon of the highest standing. "Faith in Others" supplies some similar features, everything from the galactic mellotron rushes, the achingly gorgeous vocal and the simple funereal beat. This is all about feeling, a sense of reverential acceptance, a hymn of unmitigated power and seductive charm. The piano and vocal section is painfully tragic yet utterly beautiful in its breathtaking simplicity. The bluesy guitar cadence, the 'oooh-oooh' choir , the mellotron cascade all combine to rekindle memories of the Crimson King's Court, audaciously even daring to replicate an effect ?laden chorus . I could listen to this track on an endless loop and still be completely satisfied! The 'oooh-oooh' choir returns with some classic orchestrations to give this a totally symphonic veneer and a gentle, misty wave goodbye.

As far as I am concerned, this is the Opeth I prefer, not caring much for their other albums except for the previously lauded "Damnation". Not surprising then that this has garnered so much attention and adulation.

4.5 timid intimacies