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OPETH

Tech/Extreme Prog Metal • Sweden


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Opeth picture
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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Garden of the Titans (Opeth Live at Red Rocks Amphitheatre) [2-CD+Blu-Ray+DVD]Garden of the Titans (Opeth Live at Red Rocks Amphitheatre) [2-CD+Blu-Ray+DVD]
Nuclear Blast Entertainment 2018
$25.26
WatershedWatershed
Roadrunner Records 2008
$5.49
$4.49 (used)
Ghost ReveriesGhost Reveries
HiFi Sound
Roadrunner Records 2005
$5.66
$1.75 (used)
Sorceress 2-disc deluxeSorceress 2-disc deluxe
Nuclear Blast America 2016
$9.99
$7.95 (used)
Blackwater Park: Legacy EditionBlackwater Park: Legacy Edition
The End Records 2010
$9.52
$12.07 (used)
DeliveranceDeliverance
Original recording
The End Records 2011
$3.31
$1.64 (used)
Pale CommunionPale Communion
Roadrunner Records 2014
$9.36
$3.97 (used)
MorningriseMorningrise
CANDLELIGHT RECORDS 2015
$11.65
$11.64 (used)
DamnationDamnation
Sony Music Canada Inc. 2011
$4.67
$3.67 (used)
HeritageHeritage
Roadrunner Records 2011
$6.94
$2.95 (used)
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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 | 621 ratings
Orchid
1995
3.72 | 700 ratings
Morningrise
1996
3.94 | 731 ratings
My Arms, Your Hearse
1998
4.30 | 1545 ratings
Still Life
1999
4.25 | 1595 ratings
Blackwater Park
2001
3.76 | 890 ratings
Deliverance
2002
3.96 | 1233 ratings
Damnation
2003
4.25 | 1486 ratings
Ghost Reveries
2005
3.98 | 1129 ratings
Watershed
2008
3.82 | 1195 ratings
Heritage
2011
4.15 | 1016 ratings
Pale Communion
2014
3.73 | 405 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
3.00 | 1 ratings
The Devil's Orchard (Live At Rock Hard Festival 2009)
2011
4.00 | 1 ratings
Lamentations Live At Shepherd's Bush Empire
2016
0.00 | 0 ratings
Garden of the Titans: Live at Red Rocks Amphitheatre
2018

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
4.63 | 233 ratings
In Live Concert At The Royal Albert Hall
2010
4.22 | 18 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
5.00 | 1 ratings
The Wooden Box
2009
2.00 | 1 ratings
The Collection
2014
4.33 | 3 ratings
Deliverance & Damnation
2015

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

4.14 | 22 ratings
Apostle in Triumph
1994
4.52 | 45 ratings
The Drapery Falls
2001
4.08 | 33 ratings
Deliverance
2002
4.64 | 47 ratings
Still Day Beneath the Sun 7''
2003
3.15 | 27 ratings
Selections From Ghost Reveries
2005
3.29 | 41 ratings
The Grand Conjuration
2005
4.50 | 2 ratings
Ghost of Perdition
2006
3.02 | 24 ratings
Watershed - Radio Sampler
2008
3.69 | 45 ratings
Porcelain Heart
2008
3.61 | 50 ratings
Mellotron Heart
2008
3.83 | 62 ratings
Burden
2008
4.00 | 2 ratings
Dirge for November - Live
2010
3.50 | 2 ratings
Slither
2011
3.48 | 71 ratings
The Throat of Winter
2011
3.68 | 88 ratings
The Devil's Orchard
2011
4.00 | 6 ratings
Cusp of Eternity
2014
3.47 | 15 ratings
Sorceress
2016
3.00 | 6 ratings
Will o the Wisp
2016
2.71 | 7 ratings
The Wilde Flowers
2016
4.00 | 1 ratings
Book of Opeth
2016

OPETH Reviews


Showing last 10 reviews only
 Watershed by OPETH album cover Studio Album, 2008
3.98 | 1129 ratings

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Watershed
Opeth Tech/Extreme Prog Metal

Review by TCat
Prog Reviewer

5 stars Watershed is Opeth's 9th full length album. It features a new lead guitarist, Fredrick Akesson, and a new drummer, Martin Axenrot. It also features both clean and dirty vocals from Mikael Akereldt. There is more usage of keyboards, including the mellotron which was becoming a staple in Opeth's sound. The band also adds other instruments performed by several guest musicians to add variety and texture to the sound, they do this to expand the sound of their music, which shows the band's penchant for exploration. The music on this album shows their increase in utilizing progressive techniques.

Interestingly enough, the album starts out with a relatively short and soft song 'Coil', which features Mikael sharing lead vocalist duties with Martin Axenrot's girlfriend at the time, Nathalie Lorichs. It's a nice song and is very effective in providing the sudden contrast that explodes in the heavy 'Heir Apparent'. This track also contrasts in the dirty vocals that are apparent throughout this piece, but not to the point that it ruins the track. It is obvious that Opeth wants to continue in their exploration of Progressive Rock and dark, heavy metal. This is an excellent track to make any Prog lover happy, with a lot of mood changes and meter changes, but also with the development you expect within all of Opeth's melody and theme changes.

'The Lotus Eater' features a combination of clean and dirty vocals, but still retains its heaviness throughout. Except for the occasional, somewhat experimental drop offs, the song remains heavy, alternating vocal styles, and remaining progressive and amazing throughout. I love the use of dissonance in various parts of this track and the complex melodies. Of course, the guitar is featured heavily, but there are contrasting uses of acoustic and electric, plus plenty of spacey keyboards. They even enter 'Dream Theater' territory at one point with a very cool, rapid-fire keyboard segment which fits into the song nicely.

'Burden' starts out with a slow tempo piano riff surrounded by atmospheric guitars. On the 2nd verse, a mellotron comes in and intensity builds, but the tempo remains slow. Then there is that amazing organ solo that comes out of nowhere. Mikael proves that he can sing clean vocals with amazing emotion and there is a very melodic guitar theme here too. This is not a track you would have heard on earlier Opeth material, but I welcome the variety as long as the music quality remains, which it does, in fact, the foray into new styles creates more variety and more interest. At the end there is an acoustic guitar solo, but as it nears the end, it gets warped downward in tone, which surprises me every time.

Fredrick Akesson shares song writing duties with Mikael on 'Porcelain Heart' which at first sounds like something from the softer album 'Damnation', but it soon explodes with a heavier interlude between the verses. After this, it moves into a new thematic element becoming heavier and harder, then calming again with a complex melody, acoustic guitars and a new keyboard melody. Then it goes to a dark and heavy instrumental section.

'Hessian Peel' is the longest track on the album at over 11 minutes. It starts with a keyboard drone under an acoustic guitar, which changes to acoustic and electric playing together when vocals start. This track returns to the more complex song structure moving away from the verse/chorus structure and more towards the feel of the first 3 tracks. Again, there is some excellent mellotron going on over the top of arppegiated guitar patterns. Suddenly, at the half way mark, the song explodes and the dirty vocals return after being absent since 'The Lotus Eater'. This excellent track is an amazing Progressive song that is one of their best.

The last track on the regular edition of the album is 'Hex Omega'. There is a great mix of guitars and mellotron on this one. It has a nice prog retro sound to it, but still retaining the modern prog feel. Again, this one features a nice use of contrast with the change of soft and loud.

The Special Edition has 3 more tracks, namely 'Derelict Herds', 'Bridge of Sighs' (a Robin Trower cover, which is quite true to the original, but with a better guitar solo), and 'Den Standiga Resan (The Eternal Journey)' (a surprisingly beautiful acoustic song with vocals).

This is a definite highlight of Opeth's discography showing the band's growth into being a full time Progressive Metal band. The contrasts and dynamics have never been better, even though they have existed in past albums, they are so much more effective and better used all around on this album. There is a lot more restraint on the growly vocals, which is also a good thing since Mikael's singing voice is really good, but the growls would disappear completely again on the next few albums. However, the band proves that the growling vocals in this album are another way of expressing dynamic, and do a stupendous job of integrating them into the more progressively heavy music. But, honestly, when they are not there, I really don't miss them.

With their emphasis on progressiveness on this album, and their continued use of dynamics, this album reaches the 5 star pinnacle it so deserves. This is an essential example of how a band can still be metal and dynamic at the same time. This is an excellent album that should be owned by not only all Prog Metal fans, but all Progressive music fans. Opeth sets the bar for all Prog Metal bands with this album.

 Sorceress by OPETH album cover Studio Album, 2016
3.73 | 405 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by The Crow
Prog Reviewer

2 stars Twelfth album from one of my favorite prog-metal bands!

And after the mediocre Heritage and the better Pale Communion, my expectations with Sorceress were high. In addition, the band said that this album would be heavier and harder. That is not necessary if the quality of the music is fine, but's that was like a comeback statement. Moreover, that is always interesting.

But to my surprise, Sorceress is an strange and convoluted album which mixes ideas of the two previous works with some heavier influences from the past. And that makes the harder songs like Chrysalis and Era sound just wrong! We have riffs from the past, but without the growls and a Mikael trying to sound high pitched, like a some kind of Dio impersonator... Just wrong and inadequate.

I rather prefer the Pale Communion style, where the band improved the work made in Heritage despite being faithful to their new style. Sorceress is a sad failure in my opinion and a clear step back in their career.

Conclusion: Sorceress have some good ideas, a pair of good songs and great instrumentation, but it's overall a rather mediocre album only recommended to die hard fans the Opeth's last stage.

Best Tracks: The Wilde Flowers (Heritage style but better), Strange Brew (prog and cool) and Spring MCMLXXIV (very 70's prog rock with great Hammond organ)

My rating: **1/2, rounded down to two stars.

 Sorceress by OPETH album cover Studio Album, 2016
3.73 | 405 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by raigor

3 stars With "Sorceress" the band further consolidated their transition towards epic melodic Prog-Rock/Metal leaving all initial Death-Metal influences behind them. The music incorporates the elements of Art-Rock, Folk, Classic Rock, and even World-Fusion melting together both electric and acoustic sounds. The tracks showcase plaintive piano or acoustic guitar prologues, complex compositional developments, intricate dynamic shifts, lush string arrangements, strong riffs, solid groves, and gorgeous organ-guitars duels. There are no metallic fury or death growls even at the most bombastic and savage sections of the songs. Akerfeldt uses only clean melodic singing throughout the album or even soft-spoken voicing over mellower passages. As well as the progressive character of the songs unfolds primarily via his intelligent songwriting.

Yes, OPETH are becoming less and less "Metal", more "Progressive", more discreet and elegant melodically. It's not a problem at all. However, I have to admit that the band is somehow wasting its individuality as the nostalgic nods to the Giants of the 70's Prog-Rock are becoming too obvious.

 Blackwater Park by OPETH album cover Studio Album, 2001
4.25 | 1595 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
3.73 | 405 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
3.94 | 731 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 | 1595 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
4.15 | 1016 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 | 1195 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
3.73 | 405 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Honorary Collaborator

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.

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

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