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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. Åkerfeldt 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 Åkerfeldt 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)

3.26 | 705 ratings
Orchid
1995
3.72 | 801 ratings
Morningrise
1996
3.94 | 818 ratings
My Arms, Your Hearse
1998
4.27 | 1731 ratings
Still Life
1999
4.22 | 1801 ratings
Blackwater Park
2001
3.79 | 1001 ratings
Deliverance
2002
3.98 | 1366 ratings
Damnation
2003
4.23 | 1682 ratings
Ghost Reveries
2005
3.99 | 1239 ratings
Watershed
2008
3.80 | 1323 ratings
Heritage
2011
4.13 | 1191 ratings
Pale Communion
2014
3.66 | 537 ratings
Sorceress
2016
4.00 | 448 ratings
In Cauda Venenum
2019

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

4.12 | 124 ratings
Lamentations: Live at Shepherd Bush Empire 2003
2006
4.09 | 214 ratings
The Roundhouse Tapes
2007
3.86 | 7 ratings
The Devil's Orchard (Live At Rock Hard Festival 2009)
2011
4.50 | 10 ratings
Lamentations Live At Shepherd's Bush Empire
2016
4.27 | 41 ratings
Garden of the Titans: Live at Red Rocks Amphitheatre
2018

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

4.06 | 226 ratings
Lamentations: Live at Shepherd's Bush
2003
4.10 | 160 ratings
The Roundhouse Tapes
2008
4.66 | 254 ratings
In Live Concert At The Royal Albert Hall
2010
4.32 | 22 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
4.06 | 13 ratings
Deliverance & Damnation
2015

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

4.12 | 25 ratings
Apostle in Triumph
1994
4.48 | 50 ratings
The Drapery Falls
2001
4.09 | 37 ratings
Deliverance
2002
4.47 | 53 ratings
Still Day Beneath the Sun 7''
2003
3.17 | 28 ratings
Selections From Ghost Reveries
2005
3.31 | 45 ratings
The Grand Conjuration
2005
4.50 | 10 ratings
Ghost of Perdition
2006
3.02 | 25 ratings
Watershed - Radio Sampler
2008
3.67 | 48 ratings
Porcelain Heart
2008
3.61 | 52 ratings
Mellotron Heart
2008
3.84 | 67 ratings
Burden
2008
4.00 | 3 ratings
Dirge for November - Live
2010
2.88 | 8 ratings
Slither
2011
3.49 | 74 ratings
The Throat of Winter
2011
3.68 | 93 ratings
The Devil's Orchard
2011
3.83 | 12 ratings
Cusp of Eternity
2014
3.30 | 20 ratings
Sorceress
2016
3.07 | 15 ratings
Will o the Wisp
2016
3.07 | 14 ratings
The Wilde Flowers
2016
3.33 | 3 ratings
Book of Opeth
2016
3.27 | 6 ratings
Live in Plovdiv (split with Enslaved)
2017
4.00 | 5 ratings
Ghost of Perdition (Live)
2018
3.93 | 14 ratings
Hjärtat Vet Vad Handen Gör / Heart In Hand
2019
3.77 | 13 ratings
Svekets Prins
2019

OPETH Reviews


Showing last 10 reviews only
 Still Life by OPETH album cover Studio Album, 1999
4.27 | 1731 ratings

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Still Life
Opeth Tech/Extreme Prog Metal

Review by dougmcauliffe

5 stars There's been a few middling to negative reviews on this album in recent months, so i'd like to put in some good word for this legendary release. This record follows up my favorite Opeth record: 'My Arms Your Hearse,' and to me, these two albums go together very well and act as somewhat of a second chapter of Opeths career. Though Martin Mendez was technically a member of the band during the recording of the previous album, he wasn't able to learn the bass parts fast enough. In turn, he makes his Opeth debut on this record. So the full classic lineup of the band is playing, and in addition, the production is the best it ever was at this point in the career. Yet it still strikes a balance as to where it's not TOO clean. I think Opeths music gains a certain texture and charm with some of the production imperfections. Looking at the bigger picture, this album tells a beautiful story throughout its tracklisting, and the material is just consistently some of their strongest ever. The album opens with the powerhouse that is "The Moor." This was the first Opeth song I heard and though it didn't click on first listen (it was my first time with harsh vocals!), as I began to understand the appeal of harsher vocals, this quickly stood out as a remarkable cut. It opens with a considerably bold and menacing intro, as if something malicious is brewing beneath the surface. The band takes you on a full showcase of everything they're about, with filthy riffs and touching melodic softer passages, their sound now fully realized. Godheads Lament is another massive track that keeps that very high bar. This track in particular has one of my favorite melodic passages in all of Opeths catalog with the "thought I could not leave this place on this imminent day," section. There's really not a dull moment to be found within this one, I never feel like I'm listening through waiting for my favorite part to come up. Rather, every 20 seconds it feels like they're playing my favorite part of the song. Benighted cools things off a bit with a very introspective and intimate feel to it, drawing some comparisons to Camel with some pleasant and jazzy guitar leads. Moonlapse Vertigo (jeez, these titles are so metal!) drops you right back into the inferno with a very somber progression. Fantastic vocal melodies across this one and especially here, the contrast between cleans and growls really shines. This one does something unthinkable, around halfway through they break out into a almost happy sounding major chord with gorgeous melodic guitar playing over it. This really gets me, it's like a beam of light shining into a very dark place. Face of Melinda brings back that intimate feel, also aided by a very convincing and passionate vocal delivery. The acoustic guitar arrangements shine here, but it's the totally crushing and doomy riff that comes through in the second half that cements this one as a fantastic cut. The next track, Serenity Painted Death is brutal. "White face, haggard grin, this serenity painted death," imagine not headbanging to that passage. They break out into another passage which has a wacky rhythmic pattern of 5-5-5-6, while the guitar lead over it sounds like an evil version of Camels Echoes. As this track goes on and develops, it continues to just go from one awesome and interesting passage of music, to an equally great passage for its entire runtime. Now on the final track, White Cluster. This track has a certain feeling of rage and spite behind it right out the gate. It kicks into a section led by the words "this is forgiveness, so I know," the lead in and the accompanying instrumental during this part is so darn cool. It always makes me do the squinty metal face you make when you hear a nasty riff. The song does something a little interesting almost entirely fizzling out in the middle before picking back up and taking the song in a new direction with of course, a filthy riff. The album ends with a bittersweet feeling to the music, but it also ends with a satisfied feeling on my end.

This is essential prog metal, give it a few spins. Even as a massive Opeth fan, I did find this one to be a big grower and one that can be hard to wrap your head around at first. The songs are long, but once you familiarize yourself with some of the melodies and riffage, it starts to make sense.

5 Stars

 Watershed by OPETH album cover Studio Album, 2008
3.99 | 1239 ratings

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Watershed
Opeth Tech/Extreme Prog Metal

Review by prog_traveller!!

4 stars Another work of art was expected from the Swedish quintet, and the expectation of the fans was certainly well rewarded. I can certainly say that it is a work of extraordinary beauty, and it is extraordinary how a genius like Mikael Åkerfeldt always manages to bring out new and innovative things both in the way of playing, and in the way of singing and writing.

Seven tracks, for a total of almost an hour of great music. It starts with "Coil". Very melodic song, very Zeppelian led and sung with great skill both by Mikael Åkerfeldt and by the sweet voice of the Swedish folk singer "Nathalie Lorichs". Three wonderful minutes, which you will listen to without ever getting tired. But after the calm comes the strong bang with "Heir Apparent". It is a punch in the stomach, the initial riff then reached by that almost diabolical growl of Mikael is beautiful. The whole song is sung in a growl voice but there are also melodic interludes in this nearly nine-minute piece. Let's move on to the third track "The Lotus Heater". After one track with clean vocals only and one with growl vocals only, both voices alternate in this track, a true Opeth trademark. Nice interlude around 5.50 minutes in full "Jehtro Tull" style. By listening to the next song "Burden" you understand how important and essential is the Progressive for "Mikael". This song is beautiful, very melodic guitars with a Per Wiberg who finally makes himself heard with a beautiful keyboard solo in full 70's Progressive style. Finally we arrive at the first single from the album recorded also in a video inside the Bogesund castle at Waxholm in Sweden. Here too nothing to say, you can perfectly recognize the Opeths characterized by all the elements that have made them famous. Harmony, darkness, melody, technical skill by all the members of the band. "Hessian Peel". Mamma mia che song, the longest of the album with its 11.26 minutes one of the most beautiful songs written by Opeth, I won't add anything else. We finish the album with a flourish with "Hex Omega", the initial riff is beautiful as well as the rest of the song. dark and always present keyboards as in all the songs of this work and a singing that is always different and splendid that of Mikael also helped by Per Wiberg.

There was a lot of anticipation for this record, for various reasons; first of all for the fact that it was the first album recorded by Martin "Ax" Axenrot and by Fredrik Akesson which must fill an unbridgeable void left by Peter Lindgren, and the same for "Ax". Congratulations to all five musicians, I was very impressed by the new guitarist that I really like I must say, and also by Martin Axenrot who has grown considerably, really a great job done by the two new members. For Wiberg it grows from album to album and is a continuous growth from playing to singing. There is little to say about Martin Mendez, he is a great musician who always accompanies very correctly now the guitar now the drums. I don't have to say anything about Mikael. extraordinary as always, from writing, to singing and playing in a divine way. Cover as always infinitely beautiful, designed by that artist of "Travis Smith".

 Ghost Reveries by OPETH album cover Studio Album, 2005
4.23 | 1682 ratings

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Ghost Reveries
Opeth Tech/Extreme Prog Metal

Review by prog_traveller!!

4 stars Opeth represent, as far as I'm concerned, one of the spearheads of the entire metal scene of all time. An intense, complex and personal, surprising, attractive progressive death metal that takes their music to levels of excellence that are nothing short of unique. An enviable technique at the service of their dark melodies, which note after note build an impenetrable prison only here and there deliberately broken by weak rays of light. After the absolute masterpiece (Blackwater Park), after an excellent successor (Deliverance) and a delicate and melancholy Damnation, Opeth decide to return with this Ghost Reveries, permanently adding keyboardist Per Wiberg to their lineup (the same one he had curated the keyboards in Damnation).

A few very short notes of guitar, and then debut with the growl of the immense Åkerfeldt, the unmistakable riff and the double bass drum of Martin Lopez: they are the ones who do the honors on the first track, Ghost of Perdition. The usual charged and energetic introduction, more tense and narrow in some places, which after a few minutes calls the other warm and enveloping voice of the frontman back to work, abandoning himself for a moment to the solitude of the guitars. Then we return to the pain, the swampy and dark atmosphere in which the group is at home returns: a distressing and obsessive advance, which stretches until it seems to have to abandon itself to a lacerating desolation. In the second track, The Baying of the Hounds, we are dealing with a dynamic and pressing composition, a perverse journey guided by the riffs softened by the keyboards (and it is perhaps for this reason that some small sonority at the beginning recalls Disconnected's Fates Warning) . An acoustic interlude brings the listener back for a moment in the sad paths of Damnation, together with the usual disregard of Mikael's mediocrity and his ability to make his voice the inspiring muse of the emotions expressed by the music (essential in order not to risk misunderstanding the atmosphere. ). Subsequently, the growl and the heavy riff tear the listener from the temporary relaxation that had been created, and bring him back violently into the cold and sharp depths of disquiet, thanks to a crescendo that only towards the end is interrupted for a moment by a another gloomy and dispersed acoustic section. The third track Beneath the Mire begins with a discontinuous and diabolical march, the end of which we cannot guess. The advance is abruptly stopped in the middle, where calm and reflection take the place of agitation: persuasive guitars, a mild and weighted drums, the suffused atmosphere of memory, amber sounds. But it is only a moment, which soon vanishes and leaves the scene again to the race towards the final annihilation, as it seems to be right. The fourth track, Atonement, is the one in which the new influences of the band are most concentrated: psychedelic rock is touched, accompanied by keyboards and a simple but engaging guitar solo. There are percussion, there is electronics, even in Åkerfeldt's voice, there is piano. A farsighted, inspired and meditative composition, which for a moment distances the group from the typical sounds of their land (recovered only towards the end of the track). A great proof of artistic flexibility! The fifth track, Reverie-Harlequin Forest, represents a peaceful return to origins compared to the previous one, punctuated by a generous and precise performance by drummer Martin Lopez. This long composition is characterized by an initial part characterized by both clean singing and growl, but which after about 3 minutes leaves room for experimentation: a committed exploration, whose notes recall regrets, nostalgia, sorrows, and which gradually grows , as if wanting to scream the regret enclosed in the heart. The piece ends with a prologue, which closely recalls (at least in intent) that of Deliverance. The sixth track, Hours of Wealth, embodies the debt that usually the group always pays to the sweetness and melancholy of its soul: a mild and secluded song, direct heir to the most recent Patterns in the Ivy and For Absent Friends, although obviously more in Damnation style: lights and shadows dissolved delicately and skilfully blended, guitar and keyboard, guitar and piano, in a crescendo of intensity that then ends in the usual incomparable voice of Åkerfeldt, as if it were a gem set in the entire song. The seventh track The Grand Conjuration instead upsets the quiet acquired by the previous track, and violently drags the listener into a whirlwind of suffering and anguish, through a pounding and merciless advance. An indescribable thrill at Mikael's debut, a complete absence of hope, a thundering whirlwind of darkness, which looks nothing or anyone in the face, and carries the listener as low as possible without restraint. 10 minutes of darkness, bewilderment, perdition (in fact), enigmatic loneliness. 10 minutes without moments of respite, in which no escape route is deliberately provided. And this is the last stab of the album, which (like the calm after the storm) leaves the listener lying on the floor, now defeated. It rains, it's cold, and Isolation Years accompanies the tears, consoles and comforts from the pain, from the affliction experienced in this hour of great music.

A record played with undoubted competence and with great elegance, a work (as always) inimitable, inspired, magnificent. They have once again demonstrated their incredible skill in taking new sounds, combining them and merging them with the previous ones, managing both not to lose their identity and to create something new and original.

 Blackwater Park by OPETH album cover Studio Album, 2001
4.22 | 1801 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by prog_traveller!!

5 stars There are albums that, in addition to being exceptional in themselves, represent a keystone within the history of a group if not even a musical genre. Blackwater Park is one of them. It is not my intention to try to define the musical genre proposed by Opeth; it would be a slavish, useless operation and would occupy space unnecessarily. The progressive-death metal approximation as a whole is probably the most appropriate, but the most important aspect of Blackwater Park is the expression and synthesis of all the musical aspects that have made the Stockholm group's offer famous.

The cunnubia of death metal sounds, the unpredictability and lightness of progressive and a jumble of other more or less accentuated influences, together with the creativity that allowed the Swedes to write acoustic and very melodic songs as heavy and "angry" songs, in addition to the ability of singer / guitarist Mikael Åkerfeldt to perform growl like clean parts with exceptional skill, which in fact make Opeth so loved and followed, all these peculiarities are found in this album.

Halfway between the concept Still Life, less gloomy and dark, and Deliverance (twin of the later Damnation), cruder and heavier, Blackwater Park is at the center of Opeth's production, representing the accomplished artistic maturity of artists and musicians who are already very complete. . There are no fillers on this album, each song is a precious gem. It is worth noting the way in which Mikael Åkerfeldt manages to blend the voice with the pieces, whether he uses the clean or the growl; even many non-death lovers recognize the skill and capacity of interpretation of the band leader to the point of appreciating the singing technique. The clean is equally exceptional and the guitarist's impalpable and almost ethereal voice slips between the notes, lulling the listener. It would be useless to analyze individually the songs of Blackwater Park which is an album, in all its compactness, to be listened to in one breath, to be dismembered and eaten over and over again. The likes of The Leper Affinity, Bleak, The Drapery Falls and the title track need no introduction. Suffice it to note their ability to create unique atmospheres, sensations, emotions. Sweetness, melancholy, darkness come together perfectly in this album where no notes, no pauses are out of place.

The band's fifth studio album, Blackwater Park has all it takes to become an international hit. Steven Wilson, leader of the well-known Porcupine Tree, also puts his beak into the excellent production that distinguishes the record; he induces Opeth to use a vocal effect, the telephone vocals, which he himself often uses, and even contributes to the songs Bleak and The Drapery Falls as a second voice. The evocative artwork of the album is once again curated by the well-known illustrator Travis Smith, already at work with an endless number of heavy metal bands. The wide- ranging distribution of Music for Nations did the rest, allowing for the first time Opeth to have the opportunity to make the great leap from the underground world to international consecration, which will arrive on time thanks to an incredible success with the public and music criticism.

 Still Life by OPETH album cover Studio Album, 1999
4.27 | 1731 ratings

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Still Life
Opeth Tech/Extreme Prog Metal

Review by Ian McGregor

2 stars Giving this album the same rating as Blackwater Park and Ghost Reveries because of the same reasons. It's not an essential album or revolutionary in anyway, and the growls are a big turn-off for me and many people, but it's a masterpiece for its genre, therefore it's for 'fans only'. I must say that I like this album more than the two mentioned previously, but the growls once again ruin it.

My favorites are Benighted which is a sweet ballad and Face Of Melinda which is seriously one of the most cute songs I've heard! Damnit Mikael, why can't you do soft vocals all the time? It's much better. The rest of the songs are pretty solid but the growls (which by the way are too loud in the mix) really ruin it. There's songs like The Moor, Godhead's Lament or Moonlapse Vertigo that have some nice acoustic sections though.

So, for hardcore growl fans only, if you don't like growls you WON'T enjoy this album, and the fact that it really isn't an essential album to its genre makes me give it two stars.

 Ghost Reveries by OPETH album cover Studio Album, 2005
4.23 | 1682 ratings

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Ghost Reveries
Opeth Tech/Extreme Prog Metal

Review by Ian McGregor

1 stars Giving this album the same rating as Blackwater Park because it has more ballads and therefore less growling which I enjoy more BUT the instrumentation and general atmosphere isn't as good as Blackwater Park's. Ghost Reveries is the follow-up to the Damnation and Deliverance records that worked as opposites. Ghost Reveries really isn't that revolutionary or innovative and basically continues the same Opeth sound again. It has some strong songs in it for sure but giving it three stars is a little bit of a stretch in my opinion. Of course if you like growls you will enjoy this much more.

My favorite tracks are: Hours Of Wealth, which has a depressive vibe and a nice acoustic section with a guitar solo around the middle, Isolation Years which closes the album with a nice chorus and yet another depressive vibe, and Soldier Of Fortune which is ANOTHER depressive song that has a nice verse and chorus. All these songs are very simple but they don't have growls so I can dig them more.

Just like with Blackwater Park, this is not essential or influential to the genre in anyway, it's just a solid record for fans of this band. If you like growls you will enjoy it more than I do.

 Blackwater Park by OPETH album cover Studio Album, 2001
4.22 | 1801 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by Ian McGregor

1 stars First thing that I'm saying is that these growls sound ridiculous from the very first seconds, I despise them. The record would be much better if it had better melody building on the vocals. However if the album is highly important and influential within it's genre, I will ignore the vocals and give the album a higher rating. This album is not the case. The biggest influence in this album comes from an actually-essential record "Crimson" by Edge Of Sanity. I don't listen to that album much but it influenced many melodic death metal bands we have today, one of them is of course Opeth.

Saying that this album is influential to music is not a good statement, since Opeth made two records before that were very similar, in other words this album recycles the same thing Opeth had been doing before.

There's some enjoyable tracks for sure, Harvest is my favorite probably because it doesn't have those awful growls and I enjoy listening to the first half of The Drapery Falls because of its atmosphere, Patterns In The Ivy is a sweet instrumental too. I don't care about the rest not because it's necessarily bad but because of the repeated use of growls without any interesting instrumentation.

It doesn't matter if an album has many growls to me, as long as it influenced the genre and therefore should be considered essential. But like I said in the beginning, this is not the case. If you like growls you'll definitely enjoy this record much more and you should go check it out (which is why it has a high rating after all!) but I just don't find it interesting.

Two Stars stands for "Fans Only" and that's exactly what I think about it. Definitely not poor but it's not for everyone.

 Still Life by OPETH album cover Studio Album, 1999
4.27 | 1731 ratings

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Still Life
Opeth Tech/Extreme Prog Metal

Review by Gorgut Muncher

3 stars Opeth's best album, that's for sure. Still Life explores the story of an atheist in a religious town back in the past. He comes back to the town to take his girlfriend Melinda with him, but while he was away, she had become a nun. So yeah the album is very dramatic.

There's no weak tracks or links, all songs are very necessary to the album and are good in some certain way or another. The opener is The Moor which is the best from the album because of the way it combines heavy sections and mellow sections. The rest of the album features ballads like Benighted And Face Of Melinda, the latter is the second best from the album. The instrumentation is good, but not incredible. The vocals are okay, not very proficient but Mikael delivers his lines well.

It's an excellent record and I enjoy listening it a lot. However, and as surprising as it may sound, I don't think it's a masterpiece. With that said, it's three stars.

 In Cauda Venenum by OPETH album cover Studio Album, 2019
4.00 | 448 ratings

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In Cauda Venenum
Opeth Tech/Extreme Prog Metal

Review by Gorgut Muncher

2 stars A little bit too overrated. I understand you can find valuable songs and content here and there in this album, but it feels like Opeth is running out of ideas. Pale Communion had something that I really liked which was the happy mood. Not because I dislike the sad mood, but encause Opeth had never used a happy mood before, it was something new. This album is not new in anyway, it doesn't take any risks and simply tries to sound like Opeth rather than making something new for their discography. It sounds like a continuation of Sorceress (an album I seriously dislike).

Like I said before, there's some redeeming content that stops this from being Sorceress-Tier. Dignity is an all-round solid and dynamic track that isn't boring in the slightest. Universal Truth has a nice post-chorus that reminds me of Steven Wilson. All Things Will Pass has an amazing build-up and the ending is honestly just brilliant. Charlatan has an atmospheric section in the end that works way better than it should. The transition in Heart In Hand from the first to second movement is very good despite being repetitive.

I can say that this is still a good album and that it's perfectly enjoyable. With that said, it's far from being one of their best efforts (unlike what the rating shows) and there's a better prog-rock Opeth album that you should care about listening more: Pale Communion. Three Stars.

 In Cauda Venenum by OPETH album cover Studio Album, 2019
4.00 | 448 ratings

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In Cauda Venenum
Opeth Tech/Extreme Prog Metal

Review by The Crow
Prog Reviewer

3 stars In Cauda Venenum is a return to form by one of the most controversial progressive metal bands of recent years!

It's great to hear a sort of return to their most powerful roots in songs like Dignity or Heart in Hand, where we meet again an Opeth capable of creating evil and charming melodies, and where the growls are not so very missed like in Sorceress.

In terms of production, the album also stands out for its absolutely stunning sound, where each instrument sounds perfectly, highlighting above all the superb work of guitars and the layers of keyboards that give a precious retro sound, deeply rooted in the 70's.

So, despite being far from their best works, feeling sometimes overlong and tiring, In Cauda Venenum is in my opinion the best effort that Opeth has published since Watershed! This is the good way guys. Now, let's bring those growls back!

Best Tracks: Dignity (brutal start, but then loses some beat), Heart in Hand (while listening to it, I can't help but think it would be even better with throaty) Lovelorn Crime (has an absolutely mind-blowing guitar solo) and The Garroter (beautiful spanish guitars)

My Rating: ***

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

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