GHOST REVERIES

Ghost Reveries is in my humble opinion an essential album in the Opeth catalog. This was the first album to break my preconceived notions of extreme-style vocals. At the time I was rather squeemish to anything resembling the metalcore style I'd grown the loathe. But when I was lent this album by a friend I found it impossible to ignore the melodic bombast and the dynamics within a song, let alone across the length of the album. This is one of those experiences that changed the way I listen to music, at least in terms of being less snobbish in regard to extreme music

The track 'Ghost of Perdition' opens the album with a few clean chords being strummed leading to a wall of distorted guitar and Mikael Akerfeldt's signature growl. Really hits you in the face. This song maintains a heavy feel while shifting abruptly to gorgeous harmonized vocal pieces sung over immaculately picked acoustic arpeggios. This song entertains a drama that builds through poly-rhythmic grooves and mighty Hammond organ to a satisfying crescendo at the very end. A classic melodic-metal epic. 'The Baying of the Hounds' takes the heaviness up just one more notch and drives headlong into a real headbanger. Organs are prominent on this track as well, beefing up the attack of the guitar. This track takes its detour into the quiet and gentle, great bass pulse, only to let the tension build again into an even heavier headbanging groove. 'Beneath the Mire' is definitely the oddball on this album, opening with an almost evil carnival keyboard intro. I like the lyrics of this piece, it almost reads like someone fighting with an impending demonic possession, eventually succumbing to the entity. There's also a great guitar and keyboard unison solo that's quite impressive.

'Atonement' is quite a change of pace, harking back to the sound of the album, 'Damnation'. This track has a middle-eastern feel with sitars buzzing throughout, hand drumming and soaring choruses of "Ahhhh". The track finishes off where the next track means to notate, 'Reverie' refers to the strumming chords and soft ascending keys that closes off 'Atonement'. 'Harlequin Forest' is one my favorite lyrically penned Opeth songs, and even for it's length takes quite the dynamic journey. The heavy approach as the death metal vocals kick in is juxtaposed by a beautiful 12-string strumming section. 'Hours of Wealth' is the second song to take a breath. It takes it's time building a melancholy instrumentally, and then Mikael sings over this mellotron chorus of flutes and Rhodes keys. The song closes with a mournfully painful guitar solo that feels like it has so much to say.

The album's apex, 'The Grand Conjuration' grabs you right by the throat, gets your attention and then drags you slowly passed this persistent thump of bass drum and jangly keys before once again grasping your neck. Opeth is known for milking a riff to really develop a mood and this song is a great example. The heavy parts aren't really all that heavy, but are given that impression by how they are being built up. 'Isolation Years' may be the prettiest song off the whole album. The narrative is very depressing, with crying guitar leads flying over these mournful lyrics. 'Soldier of Fortune' is an excellent cover of the Deep Purple piece taken from a live recording including Opeth's then to be permanent drummer Martin Axenrot, and is a great addition that fits the feel of the album's mellower peices.

In my opinion 'Ghost Reveries' sits as Opeth's magnum opus, not at all to discredit their work to follow, but this album encapsulates that signature Opeth melodic death metal sound. The composition of these songs is stellar, varied and progressive but all the while hooking your attention. It may not be extreme enough for some, but then I don't believe it's supposed to be. If I were to suggest an album to break through a fellow music enthusiasts extreme vocal disdain I would likely choose this album.

10/10