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OPETH

Tech/Extreme Prog Metal • Sweden


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Opeth biography
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 you would be interested in because it is a ...
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Blackwater Park: Legacy EditionBlackwater Park: Legacy Edition
The End Records 2010
$9.59
$10.41 (used)
My Arms Your HearseMy Arms Your Hearse
CANDLELIGHT RECORDS 2015
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Ghost ReveriesGhost Reveries
HiFi Sound
Roadrunner Records 2005
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Sorceress 2-disc deluxeSorceress 2-disc deluxe
Nuclear Blast America 2016
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Still LifeStill Life
PEACEVILLE 2017
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OrchidOrchid
CANDLELIGHT RECORDS 2015
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Pale CommunionPale Communion
Roadrunner Records 2014
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WatershedWatershed
Roadrunner Records 2008
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MorningriseMorningrise
CANDLELIGHT RECORDS 2015
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Deliverance & Damnation RemixedDeliverance & Damnation Remixed
Sony Music Canada Inc. 2016
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OPETH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

3.24 | 610 ratings
Orchid
1995
3.72 | 687 ratings
Morningrise
1996
3.93 | 716 ratings
My Arms, Your Hearse
1998
4.31 | 1514 ratings
Still Life
1999
4.25 | 1563 ratings
Blackwater Park
2001
3.76 | 875 ratings
Deliverance
2002
3.96 | 1211 ratings
Damnation
2003
4.25 | 1453 ratings
Ghost Reveries
2005
3.95 | 1109 ratings
Watershed
2008
3.82 | 1182 ratings
Heritage
2011
4.16 | 993 ratings
Pale Communion
2014
3.80 | 380 ratings
Sorceress
2016

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

4.11 | 117 ratings
Lamentations: Live at Shepherd Bush Empire 2003
2006
4.08 | 200 ratings
The Roundhouse Tapes
2007

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

4.02 | 214 ratings
Lamentations: Live at Shepherd's Bush
2003
4.08 | 151 ratings
The Roundhouse Tapes
2008
4.64 | 231 ratings
In Live Concert At The Royal Albert Hall
2010
4.29 | 17 ratings
Live at Enmore Theatre Sidney Australia
2011

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

4.56 | 43 ratings
Limited Edition Box Set
2006
3.98 | 66 ratings
The Candlelight Years
2008

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

4.14 | 22 ratings
Apostle in Triumph
1994
4.51 | 44 ratings
The Drapery Falls
2001
4.06 | 31 ratings
Deliverance
2002
4.66 | 44 ratings
Still Day Beneath the Sun 7''
2003
3.13 | 26 ratings
Selections From Ghost Reveries
2005
3.28 | 40 ratings
The Grand Conjuration
2005
3.00 | 23 ratings
Watershed - Radio Sampler
2008
3.67 | 44 ratings
Porcelain Heart
2008
3.60 | 48 ratings
Mellotron Heart
2008
3.83 | 61 ratings
Burden
2008
4.00 | 1 ratings
Dirge for November - Live
2010
3.00 | 2 ratings
Slither
2011
3.49 | 70 ratings
The Throat of Winter
2011
3.68 | 88 ratings
The Devil's Orchard
2011
4.00 | 5 ratings
Cusp of Eternity
2014
3.54 | 13 ratings
Sorceress
2016
3.00 | 4 ratings
Will o the Wisp
2016
2.60 | 5 ratings
The Wilde Flowers
2016

OPETH Reviews


Showing last 10 reviews only
 Blackwater Park by OPETH album cover Studio Album, 2001
4.25 | 1563 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by ale73

5 stars Now Opeth is one of the most affirmed prog entity (and it is all deserved), but there was a time when they were something different. I started listening to them with the former album "Still life", and immediately I came back to their older stuff. Now mixing death metal and prog could appear nothing revolutionary, but in the 90's it sounded completely new. And I think no one else did it with the same feeling, technical expertise and great songwriting as Opeth.

I remember buying this record with big expectations and some doubt, as I was thinking "Still life" could have been unmatchable. But at the first listening to "Blackwater park" I understood my expectations were not only fulfilled but even exceeded. It was 2001 and at that time I was totally into metal music. Even though I was listening to some prog as well (I was listening to Marillion since I was13), my ears were not prepared for a total prog immersion. I know prog purists would not like this record, but for me (it is something difficult to explain) it represented my complete acceptance of the genre, probably because it was a prog record recorded by metal musicians. From then my prog explorations started, in parallel with Opeth journey: mastermind Mikael Åkerfeldt changed his creature through different paths, always sorrounded by great musicians, alternating prog, metal and even acoustic music, clean voice and growling.

In this album Opeth have my favorite line-up. Mikael Åkerfeldt is simply perfect: I love both his growling and clean voice, and his guitar sound is superb; the rhythmic section is well-matched, with a technical setting that seems almost jazz based: it was particularly evident in live sets, and it is something I now regret, new bassist and drummers are great but this feeling misses; Peter Lindgren was the perfect complement to the main-man guitar soloing.

All the album is a mix of aggressive and harsh death metal with growling voice and delicate acoustic parts with a very delicate voice. Every song is very intricate and if you listen to the whole album it is like you are on a rollercoaster. All of them are very long, from 8 to 12 minutes each, with two exceptions: the mellow interlude "Patterns in the ivy", a very short song but at the same time very beautiful (there is a second part of it in "Damnation" album) and the acoustic ballad "Harvest", in my opinion one of the highest creative peaks in Opeth career. But all the album is a sort of "best of", so that at least there are three songs that they often play live still now: "Bleak", "The leper affinity" and "The drapery falls".

Two last observations: the record was produced by Steven Wilson (and production is great); the cover art is fantastic and perfectly shows the mix of melancholy and hope that is the backbone of this masterpiece.

 Sorceress by OPETH album cover Studio Album, 2016
3.80 | 380 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by Prog Leviathan
Prog Reviewer

3 stars The prog-rock Opeth seems here to stay, especially with Sorceress, which offers a panoply of classic progressive inspiration, performed through the down-tuned and sometimes aggressive--sometimes nostalgic--Opeth style. Will you like it? Probably. Will you love it? Maybe not this time.

Sorceress succeeds on many levels. Foremost is in its production and style. This is a masterfully produced and performed album. The instrumentalists are generally underrated in our discussions here, but their work throughout Sorceress is first-rate. Next, is the diversity in songwriting, dynamics, and nuance. There's a lot here for lovers of artistic rock to enjoy and discover. From the thick, fuzzy, bottom-heavy title track, to the gentle acoustic moments and simple accompaniments to Akerfeldt's wonderful singing voice found throughout. While there's never metal chugging-- the band gets heavy in many songs; on the flip-side, though they never breakout into a Scandinavian peasant dance--the band indulges themselves quite a bit in an eclectic combination of folk, fusion, and the lengthy spaces between highlights.

And this is sort of where Sorceress lets me down. The songwriting has a handful of outstanding moments, but it can't grab hold for its entire running time. Some songs feel like interludes, and a few like experiments that almost work. Likewise, Akerfeldt's lyrics are noticeably less interesting this time around.

If you're grooving with Opeth's musical direction, or if you love the prog classics which Opeth is taking inspiration from, then Sorceress is a worthy purchase. If you pine for the days when Akerfeldt would destroy your brain with impossibly intense metal--it's time to say goodbye to Opeth once and for all. If you're like me and think Heritage and Pale Communion are the band's best albums--Sorceress is a solid record (almost a 4-star).

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 3

 My Arms, Your Hearse by OPETH album cover Studio Album, 1998
3.93 | 716 ratings

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My Arms, Your Hearse
Opeth Tech/Extreme Prog Metal

Review by Luqueasaur

5 stars Fluid stories of an undead: 9/10

This is it, this is where it all began. From here onwards, OPETH would only mature the innovations they decided to adopt in their musical style. Vivid, lush and seamlessly fluid storytelling is the band's paramount (and most noteworthy) achievement, fueled by their usage of everything - vocals, instruments, atmosphere - to make its narration credible.

Lyrically, OPETH uses a complicated language which, nonetheless, suffices to understand the story's unfolding. They mix introspection and actual events and it gets rather confusing to define when is something is objectively happening and when it is the character's perception of the world, but that's not an issue; in fact, its one of the narration's charms. MY ARMS, YOUR HEARSE tells the tale of a man who dies but, for some reason, returns to life and bitterly turn against the woman who pretended to love him during his time alive. In this way, the album's title is fitting: the embrace of a dead vengeful spirit is the demise and grief of a guilty living person.

Akerfeldt's growl is styled to sound demonic and ferocious (listen to Karma's outro - insane roar!) as his character is a spiteful entity but there are times the singer uses clear vocals - the moments the undead remembers of his earthly memories and gets in touch with his smoldering, long forgotten humanity. Also, from their very second album OPETH's un-metal tendencies began to crystallize: there are lots of acoustic passages permeated in the songs, and three tracks features features solemnly their black, folksy acoustic guitars. But when the metal riffs kick in, when the Demon of the Fall is awake and enraged, boy, you better be ready (highlight to The Amen Corner's monstrously headbanging intro).

After listening to MY ARMS YOUR HEARSE, I could understand a little better the reason behind OPETH's hype; now I can't help but to think that, assuming this isn't their best effort yet still manages to pose as terrific, the band's acclaim is more than deserved.

 Blackwater Park by OPETH album cover Studio Album, 2001
4.25 | 1563 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by martindavey87

2 stars As a long-time fan of progressive metal, Opeth was a band name that kept popping up. I knew the day would come that I'd have to give them a shot, so where better to start than what seems to be one of their more highly-praised albums; 'Blackwater Park'.

Now, the whole doom and gloom death metal shouting has never really been my cup of tea. I can tolerate it in small doses, and when used in certain contexts it can be very effective, but too much of it is, well, too much! And Opeth have a lot of it!

But if I need to, I can look past that. And in this case, I can (just about) tolerate it, because Opeth have some incredible guitar acrobatics going on! The guitar riffs are so complex and intricate, there's a lot of things going on but at no point does any of it become overbearing. It sounds dark and gritty, but there's some really intelligent riffs going on here.

There are times when vocalist Mikael Akerfeldt sings cleans, and these are some of the more stand-out moments for me. And with some pretty amazing musicianship displayed in pieces like 'Bleak', 'The Funeral Portrait' and 'Harvest', there are some songs worth coming back to. Even if the singing is nothing more than unintelligible gibberish.

Opeth will never be my favourite band, and 'Blackwater Park' won't be an album I intend to go back to very often. But for what it is, it hasn't deterred me from sticking with the Swedish band for a while longer.

 Pale Communion by OPETH album cover Studio Album, 2014
4.16 | 993 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by The Crow
Prog Reviewer

3 stars A vast improvement over Heritage... But still underneath their best albums.

I think the best virtue of this album is being a lot more focused, centered that their previous work. The style of more of less the same, but this time Mikael managed to compose a very much coherent and cohesive collection of songs, far from the proggy mess of Heritage. But again, if you are waiting a return to their metal albums, you will be disappointed.

The production of the album is really good, again with the mixing of Steve Wilson, and the sound of Joakim Svalberg at the keys is very similar to Per Wiberg, so it is hard to notice any difference in terms of keyboards. The rest of the band is the same since Watershed, and I have nothing to complaint. They are all great musicians.

Pale Communion starts with Eternal Rains Will Come, in a style very reminiscent to Heritage with its old fashioned keyboards. But we can hear that Mikael sings a lot better this time, far from the excesses their previous work. But sadly Cusp of Eternity bring back the horrible clear voices of Heritage, with Miakel shouting rather than singing in the attempt to break his voices in the style of Bonnie Tyler. Nevertheless, this song has great riffs and a very good instrumental section.

Moon Above, Sun Below is maybe the best song of the album, with tons of mellotron and an acoustic part which clearly reminds to Damnation. Mikael sings very well at the beginning, but soon after he screws the vocal melodies again. This way to extend the vowels in the words is artificial, ugly and typical for rookies than for experimented singers. The end of the songs is pretty good... Only circles on the water.

Elysian Woes is a beautiful acoustic song with mellotron but not really remarkable for the career of the band. Goblin is a homage to this band, beloved for the Dario Argento films and in some parts the music sound just like one of his films but a bit more jazzy. River is another highlight of the album, which opens with a good acoustic sound which reminds me to Kansas and a very good guitar solo with a blues feeling. The instrumental section is also wonderful, one of the best parts of the album.

Voice of Treason starts in a menacing and dark way with good orchestral arrangements. After that we can hear another lame vocal interpretation from Mikael, who again shouts his lyrics in a rather annoying way. The final part of the song is another instrumental tour de force in the same way of River, but not so good.

The beginning of Faith in Others could be included in a King Crimson album, and again Mikael ruins what could have been a great song. In the minute 2 starts a Savatage sounding piano melody and the song gets better with its mellotron, good choirs and another imitation of the seventies prog-rock. Mikael shouts again towards the end of the song, this time through a telephone.

Conclusion: Pale Communion is better than Heritage. No doubt about it. The songwriting is stronger and more coherent, and the singing of Mikael is also a bit better, though his way of shouting his clean vocals annoys me sometimes. The work of the rest of the musicians is flawless.

And this record also confirms that Opeth are not this outstanding and influential prog metal band anymore... Now they are just a good prog-rock band which tries to imitate the glory days of the seventies prog-rock, with just a moderate success. And that is a pity in my opinion.

Best tracks: Eternal Rains Will Come, Moon Above Sun Below and River.

My rating: ***

 Heritage by OPETH album cover Studio Album, 2011
3.82 | 1182 ratings

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Heritage
Opeth Tech/Extreme Prog Metal

Review by The Crow
Prog Reviewer

2 stars Good bye death metal, welcome boredome!

Heritage changed it all... One of the most well crafted and influential prog metal bands of the last decades suddenly left the style that made them big to derivate into an attempt to replicate the 70's prog rock sound that Akerfeldt loves so much. And they clearly succeeded in achieving this goal buty the forgot the good and catchy songwriting in the process. Where is the overall quality that this band always had? Gone!

Per Wiberg gained a lot of protagonism (and he left right after finishing the album) in the sound of the band and that also happened with the ambiental and jazzy parts too, decreasing the decibels and eliminating the growls. But the album sounds good... Well, that's not accurate. The music has a great production and mixing! Steven Wilson helped, of course. But what happened with the songs?

Heritage is a beautiful and melancholic intro wich introduces us in the album's mood effectively, leading to The Devil's Orchard, the best song of the entire record, very dynamic and with a superb guitar and keyboard work. The ending of the song is astonishing! And the vocals are also adequate here.

But the comes I Feel the Dark... Why are you shouting all the time, Mikael? Where are your mellow and soft vocals? Are you trying to be someone else or it's just my imagination? The song is to bad, but the singing is. It just doesn't fit with the mood of the song. And them comes Slither, a mediocre attempt to recreate the 80's NWOBHM style, with a Mikael trying to sound like Dio... What the hell were you thinking, guys?

Nevertheless, Nepenthe is even worse. A boring jazz oriented track with a lot of psychedelia on it but with an absolute lack of direction, apart from a great guitar solo. Häxprocess starts with almost three minutes of nothing, and at this point we are irreparably bored to death. And the slightly better final part of the song can't repair that.

And of course Famine and its eternal and boring percussion part is not better. The good instrumental work can't disguise the complete lack of inspiration this song has. Fortunitely, The Lines in my Hand and its pompous mellotron, good acoustic guitars and the typical Opeth's sound save us from cutting our wrists. One of the best tracks of the album!

Folklore is not so bad like Nepenthe or Famine, but it's also far from the band's best moments. Echoes of Damnation but again with unfitty and lame vocals. Marrow of the Earth comes as summary of this album: sad, unloved and unispired.

Conclusion: it's not the lack of death metal vocals, or the style change. The problem with Heriage ist he bad songwriting and the endless boring parts. And of course, the Mikael Akerfeldt's singing, wich is strange, loud and just lame in occassions. What happened to you? I think this man was trying to became a different musician, a different singer... And he failed miserably.

After all this years, I'm still amazed... How managed one of my favourite bands to release an album so unispired? This always be a mistery for me.

Best Tracks: Heritage, The Devil's Orchard, The lines in My Hand.

My rating: **

 Sorceress by OPETH album cover Studio Album, 2016
3.80 | 380 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars I still remember the impact 'Ghost Reveries' had on me when I first heard it back in 2005. It was Opeth's eighth album, but the first I had come across, and it totally blew me away. I then sought out the earlier albums and was intrigued to see how much they had changed over the years: what would that mean for the future I thought? This is their fourth album since then, and features the same line-up as 2014's, 'Pale Communion', namely Mikael Åkerfeldt (guitars, vocals), Martín Méndez (bass), Martin Axenrot (drums), Fredrik Åkesson (guitars), and Joakim Svalberg (keyboards). But, of that line-up only Mikael was a full member on 'Reveries' (Martin played on just one song), so in many ways this isn't the same band, so perhaps it isn't surprising that the band have moved in such dramatic fashion from their death metal days. But what does that mean for the fans who followed them?

I found that I kept thinking of classic Uriah Heep, but on steroids, as the guitar is that much sharper and the solos more powerful, but the way the organ keeps thing moving and repeating motifs is very much of that style. When I told someone, I was finally getting around to listening to this album, which came out in September last year, he said that he would be very interested in hearing what I thought of it. In the end, I told him that in many ways I think this is a good album, but it's not Opeth. And there's the rub, looking at the cover art does one really notice that the peacock is displaying his tail feathers on a mound of skulls? The skulls may be where they have come from, but are they now a bird with an annoying cry? Do they look good, but there is little substance and no taste?

Musically this is all over the place, but early Seventies is where it is most at home, and songs such as the acoustic "Will O The Wisp" would be more at home on a classic Jethro Tull album than Opeth. But, and it's a big but, take the word "Opeth" off the album cover then I and probably all other reviewers would be looking at this in a different light. What will fans be wanting when the band play live? Will it be the older material or this? I know what I think. This should probably have been released as a solo album by Mikael, as there is too much risk of disengaging fans who have been with the band for years. The question is, how many of them will turn up for gigs, and how many will buy the next album? I enjoyed this on a pure musical level, but it isn't what I expected at all.

 Still Life by OPETH album cover Studio Album, 1999
4.31 | 1514 ratings

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Still Life
Opeth Tech/Extreme Prog Metal

Review by FragileKings
Prog Reviewer

4 stars Opeth's fourth album, 'Still Life' is for many where the band finally established their classic sound in all its glory. 'My Arms, Your Hearse' brought in two new musicians and a serious alteration in the band's music writing style: heavier, more brutal, and with a more natural inclusion of lighter parts into their now heavier songs. But Mikael Akerfeldt was deeply influenced by progressive music by this point and claims that 'Still Life' was their most progressive album up to that time.

What is interesting to note on this album is how the heavier guitar chords are very well balanced with higher tone riffs, allowing for complex riffing to coexist with the more thunderous side of the band's heavy sound. As if intentionally in complement, Mikael's death vocals also show two sides: a deep guttural bellow and a wet, back-of- the-throat, blasting roar. These two vocal styles are best heard in the chorus to 'Serenity Painted Death', where the first part is sung (or vocalized?) in the deeper voice and the second part in the higher, shredding voice. In fact, it is this song that finally made me appreciate the skill and talent behind death vocals. Previously I had likened this style of vocalizing to a demon with severe stomach troubles the night after an ungodly pasta binge and heavy drinking. Perhaps somewhat unfortunately now, all death vocalists I hear will be compared to Mikael Akerfeldt.

I'll admit that in the beginning this album was a slow grower for me when I brought it home four years ago. At first, only 'Serenity Painted Death' and 'White Cluster' stood out as memorable. But earlier this year, I this album on frequently and my brain become awakened to its overall charm. Mikael's clean vocals are stronger than they were on the previous three albums and can now create an atmosphere. The acoustic part in 'Godhead's Lament' makes me think of Jethro Tull a bit, and the use of acoustic and clean electric guitar passages in the heavier songs has really become a natural development within the song frameworks. Daring to go further than before, Opeth give us 'Benighted', an all-acoustic track plus some clean electric guitar with a smooth jazzy feel and all clean vocals. 'Face of Melinda' also spends the first four minutes delivering an easy-swaying acoustic number with light jazz-influenced percussion. The inclusion of these tracks shows that the band is not driven towards an album of brutal auditory assault like many or most of their death metal contemporaries but is instead striving for texture, mood, and melody alongside the expected aggressive music.

Looking at 11 lists ranking Opeth's albums, 'Still Life' has an average rank of 3.1, second only to 'Blackwater Park' with a 1.9 average rank. It is, in my opinion, one of the four essential Opeth albums from their progressive death metal period, along with 'Blackwater Park', 'Ghost Reveries' and "Watershed". And 'Serenity Painted Death' is one of my top 3 favourite classic Opeth period songs! I'd love to give this 4 1/2 stars but I'll settle with 4.

 Watershed by OPETH album cover Studio Album, 2008
3.95 | 1109 ratings

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Watershed
Opeth Tech/Extreme Prog Metal

Review by FragileKings
Prog Reviewer

4 stars "Watershed" is a crucial turning point in the musical trajectory of Opeth. A major line-up change saw the departure of long-time guitarist Peter Lindgren (since before the debut) and drummer Martin Lopez (since the third album "My Arms, Your Hearse") and the recruitment of drummer Martin Axenrot and guitarist Fredrik Åkesson. Keyboardist Pir Wiberg who joined the band for the previous album "Ghost Reveries" remained on board.

With "Watershed", Mikael Åkerfeldt and company developed the band's two sides even further. The death metal side shows its fastest and most aggressive-sounding ever in the songs "Heir Apparent" and "The Lotus Eater". However, Opeth's progressive side, which I felt really began to broaden on "Ghost Reveries", pushes the envelope even further hear, and in fact, I feel there are hints of the album "Heritage" that would come three years later.

The album opener is the surprising all-acoustic track "Coil" which includes not only some beautiful woodwinds with the acoustic guitars but also the guest vocals of Nathalie Lorichs, the girlfriend of Martin Axenrot at the time. A lovely though curious first track, the album's real worth for me lies in the next two tracks, "Heir Apparent" and "The Lotus Eater" which, as I stated above, not only includes some of Opeth's fastest, most aggressive metal to date, but also some fabulous progressive parts that go beyond what the band has managed before. Just listen to that funky dual keyboard passage with the groovy wah-wah guitar and drumming!

"Burden" is a classic, seventies type of heavy and slow number with harmony vocals and an organ. It's almost so perfectly written that I feel it's too much like stuff I've heard many times before on much older albums. Nevertheless, it gets some pretty good ratings on Opeth song ranking sites. "Porcelain Heart" is the third killer track for me. Slow and heavy and showing more technical playing in parts, it's both haunting and brooding.

The last two tracks seem to me like the band is trying to decide where to go next. "Hessian Peel" is more like several short songs stitched together to take us on a journey that includes progressive acoustic-type music as well as heavy metal with death vocals. I might add here that Mikael's vocals sound deeper and more sinister on "Watershed" than they do on most older recordings. It took me time to warm up to this track but I can finally appreciate and enjoy it. The final track, "Hex Omega" though is a little of a disappointment. I feel it has no solid direction and even after many repeated listens, I can't keep my concentration on the song if there are any distractions. The one impression that remains is the sparseness employed in one part, which I recognize from a couple of tracks on "Heritage", except that I rather like them on that album. Here I think the album is left to close with a song that begs the question, "Where are we going now?"

So here we see an all new Opeth (two new key members) taking bold steps but still keeping their death metal sound but for the last time. As history has shown, no future albums over the subsequent ten years ever included any death metal, but instead saw the band plough full onward with their progressive rock styling.

 Orchid by OPETH album cover Studio Album, 1995
3.24 | 610 ratings

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Orchid
Opeth Tech/Extreme Prog Metal

Review by FragileKings
Prog Reviewer

3 stars So here we have the very first Opeth album, released by Candlelight Records in 1995 but recorded in the spring of 1994. By the time Opeth hit the studio, none of the founding members remained in the band, the last one, David Insberg, having left two years prior. On the current roster were a young Mikael Akerfeldt (vo/g) who was joined by Peter Lindgren (g), Anders Nordin (dr/piano), and Johan De Farfalla (bass/backing vo ) for the debut.

This album and its successor, "Morningrise", show Opeth as they never would sound again. Though labeled as death metal with some black metal aspects, Opeth were from their first platter already showing prog tendencies. The songs are mostly over ten minutes and are composed in multiple parts with tempo and meter changes, not to mention the frequent acoustic breaks. I'll admit here that my knowledge of death metal is rather sparse and lacking and so I did a bit of research, first reading the Wikipedia article on death metal and discovering that I already was familiar with its origins (which as it turns out are close to those of black metal). In the eighties I had in my cassette collection albums by Venom, Bathory, Hellhammer, Celtic Frost, and Possessed, and it was these bands among others that inspired both the death and black metal movements. To further educate myself, I found a playlist on YouTube with 224 videos of old school death metal and I listened to the first two dozen songs. From those I conclude that early death metal was fast like trash but featured growled, or perhaps more accurately roared, guttural vocals. This matched my loose impression prior to hearing the album. When someone somewhere commented that early Opeth albums were more straightforward death metal, I imagined something like early Gorguts: fast, technical, and brutal.

The guitar sound strikes me as rather primitive for the day. Though we are talking mid-nineties here, the distortion sound, the tone, and the use of delay are similar to albums I picked up in the eighties. The one that comes to mind most readily is an EP by Ruthless. The guitars have a rawness to them and sound a bit high tone compared to the city-leveling, bombastic, full-on distortion whump! of later albums like "My Arms, Your Hearse" and "Blackwater Park". But the dual guitars play complex and melodic riffs that more than once remind me of Paul Di'Anno-era Iron Maiden. This cannot just be me because I read someone describe the guitar playing as Celtic-influenced and I have read the same appraisal about Iron Maiden.

Rather amazingly, this debut death metal album opens with a 14:10 mini-epic that introduces more than a couple of harmonized dual guitar riffs for the first 2:20 of the song before the vocals finally come in. Around the 3-minute mark the speed picks up, but with more emphasis on slower melodic riffs I feel the music is more akin to early nineties thrash bands like Sacrifice, Slayer, or Annihilator because raw speed has given way to complexity in music and song structure. The first acoustic break comes at 3:48 and get used to it because this is what the band is going to build its career on: frequent acoustic breaks in heavy songs. True to melodic form, the lead guitar parts are not wailing or shredded but exude a taste for style and feeling over volleys of notes.

Three of the next five tracks are all lengthy numbers featuring more melodic riffs, a few speedy sections, some wonderful mid-eighties early death metal heavy riffs, frequent exploitation of acoustic guitars, and some noteworthy bass guitar highlights. There are moments, especially in "The Twilight Is My Robe" when the acoustic passages become frequent to the point of redundancy, I felt at first, the uniqueness and surprise quickly wearing off. However, by the end of the song the quick binges of speedy heavy parts actually seem more like the breaks while the acoustic parts carry the weight of the song.

Throughout these tracks, Mikael's death growl is harsh and demonic, sounding like his vocal chords are being given a good shredding while the lead guitars eschew shredding altogether and stick to being melodic and emotive. There is still room for some great trad metal guitar moves in places. On the down side, the clean vocals here often sound weak as though they were deemed a necessary part of the songs but no fully adequate singer was available. Mikael would certainly perform clean vocals much better later on down the road.

There are two short instrumental pieces. "Silhouette" is a piano composition by drummer Anders Nordin. It could have been rather pretty but I feel the playing is clunky and graceless. The keys are pounded throughout and the tempo seems ready to derail at inappropriate times. "Requiem" is an acoustic guitar number with bass guitar, and despite the band's insistence on working in acoustic guitar sections into their songs, this instrumental is unremarkable.

The true highlight of the album for me is in the final track, "The Apostle in Triumph". Beginning with an upbeat acoustic piece, it sounds like something that might have been an outtake from Led Zeppelin's third album, hand drums and a restless bass guitar adding to the interest. Then bizarrely, the music fades out and for two seconds there is only silence. Another acoustic composition begins, and you might be wondering here what has happened as "Requiem" was followed by two more acoustic only bits. But "Apostle" is a mighty track of 13 minutes with some ominous guitar riffs and brutal vocals. Much more emphasis goes on the heavy music than on any other track, I presume. At 7:25 a huge surprise is dropped on our cochleae with an instrumental segment that features a guitar that sounds more like a viola. I suspect it is played by adjusting the volume dial but done with such a speed and agility that I would not be surprised to hear another technique had been employed. After the first two listens to this album, this song had cemented itself as my favourite track of the album and one of my top ten favourite Opeth tracks, at least until I acquired more albums when the list had to be expanded to a top 20.

Though Opeth would go on to release many excellent albums later on, this earnest debut, though a little rough in a few spots, establishes the band as more than just another death metal outfit. Rankings of Opeth album usually put "Blackwater Park" or "Ghost Reveries" at the top but at least one list I found has "Orchid" in the number one position.

A more straight forward death album this is not. These four young men produced quite an achievement in their early days as Opeth and set their course for progressive melodic death metal.

Thanks to ProgLucky for the artist addition.

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