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Opeth - Ghost Reveries CD (album) cover

GHOST REVERIES

Opeth

 

Tech/Extreme Prog Metal

4.24 | 1135 ratings

From Progarchives.com, the ultimate progressive rock music website

Publius
5 stars Well, generally I don't review albums on first listen, but this time I am.

Now, I can see why people say they're not prog. However I still believe they are. A listen to the first minute or so of the opening track 'Ghost Of Perdition' could lead you to think 'WTF SLIPKNOT!?!' but give it some time...the track sounds very Tool-like in a lot of places and has all the traits of the previous great Opeth tracks. Opeth can do no wrong. This track makes for a very exciting listen, very strongly resembling 'The Grudge' by Tool. And yes, most of the vocals on this are in a pleasant clean voice. Which is, incidentally, very pleasant and very clear. But the mild 'cookie monster' growl can annoy many. I give this opening track a 9/10. There's even some Mellotron use at around 7:10! Whoopee!!

The Baying Of The Hounds: Taking a similar approach to the opening track, it's clear that the aim of this track is to rock. Not just rock, but to rawk. To rawk hard. And it does. Yes yes, it has the cookie monster growls, and anyone who grimaces even at the slightest mention of Dream Theater or Tool will not enjoy this at all. But the musicianship and the riffage is undeniably great, with some fantastic escalating riffs. At around 2 minutes through, the track starts to sound mildly Dream Theater-esque, but still rocks and carries on as though this track really was meant to be. On first listen this track is instantly loveable. This is either a sign of brilliant musicianship or complete lack of progressiveness. At around 3.20 the track changes to a post-rock, radiohead-esque minimalist groove. Mikael Akerfeldt's clean voice joins in with some jagged chords, generating an instantly brilliant melody. The steady bass and rhythmic drum work pound away, creating the base for this steady section. The track continues in a fantastic way with some absolutely superb acoustic work accompanied by...wait for it...Piano! Yep, Opeth are definitely expanding their timbral options. Mellotrons, Pianos, whatever comes next? The track goes into a final heavy section which is very rich in texture...thoroughly brilliant. Oh yeah, there's some more mellotron in here too. Both this and the opening track clock in at 10 and a half minutes each. They couldn't have made better use of their time. 10/10.

Beneath The Mire: Woo. This one is slightly different. Even more mellotron! Mellotron lovers delight! The entire melody line of the first minute or so is played entirely on mellotron, and this continues throughout the song. An interestingly offbeat song, with dirty vocals again, this song is not quite as appealing as the previous two, sounding more like something from a mushroomhead album. Clean vocals present too. At 3.20, we're in Radiohead mode again. But this time it sounds like we've got Eric Clapton making a guest appearance on guitar. The track becomes even more appealing now, with clean vocals and some very Hackett-esque guitar work. I tell you now, I am loving this album and this review is going to be long. I hope the next tracks are shorter...9/10 for this track.

Bloody hell, buy this album now, you've seen my words about it, I can't write that much for each song, you HAVE to hear the album. Truly amazing stuff.

Publius | 5/5 |

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