DAMNATION

Opeth is arguably the greatest metal band of all time, but what gives them the edge is their ability to step outside of metal and nullify the usual objections about the genre's limits, while stlll making full use of all its possibilities. So in short, it is the non-metal side of their sound that has made them such a cross-over success. You can't help but notice the constant "I don't like death metal but I like Opeth" comments in their reviews.

It would seem to follow that an all non-metal album would hit the sweet spot for these fans like myself who came to Opeth from outside death metal. But actually, it has ended up being my least favourite album of theirs.

Deliverance was not exactly what was advertised- it was not all heavy, having significant gentle portions. But Damnation is as advertised, all gentle and sleepy, no growling. Now, I'm not some hater of this side of Opeth, Harvest is one of my favourite songs of all time. The problem here is that the melodies just don't seem anywhere near as rich and strong as the likes of Harvest and Creed and other classic ballads. The album is extremely grey and samey.

Though at 43 minutes, it is Opeth's shortest album, it still feels overlong. Windowpane has no business being 7 minutes long and I'll sit happily through the 10+ minutes of The Drapery Falls or Hessian Peel again and again. It doesn't evolve, build, layer, anything really. No other song is that egregiously lengthy but they do seem to drag on.

The only song here that is nailed- without it this might be looking at two stars- is Hope Leaves. Other reviewers don't seem to mention it much so perhaps I'm out on a limb, but I find this song beautiful, deep and addictive. Whereas after listening to the album again and again, I still had trouble remembering anything about Closure. I do like In My Time Of Need, but it's not as strong as Hope Leaves.

The other negative is that the album collapses a bit at the end. Ending Credits is an instrumental where the band seem to be deliberately avoiding using any of their strengths. And Weakness is an intriguing concept- fragile xylophone with a whispered, gossamer vocal from Akerfeldt that threatens to wink out of existence at any moment- and I'm sure there was a great, spooky atmospheric piece in there but the way its done it ends up a bit infuriating and boring.

I think the problem isn't Akerfeldt's vocal approach- his singing is magnificent. The problem is that Opeth are a magnificent band who can make god-killing sounds and they spend the entire album avoiding it. It's like Jimi Hendrix deciding to play with the wrong hand or something. The band handicapped themselves and it makes for an interesting experiment, but a weak entry in their discography. Also, it was their third album in three years and maybe the tune tank was running a little dry.

Still, it's not a complete loss. The album sounds great and is very well produced which will sooth those who did not care for the rough and amatuerish (though deliberately so) aesthetic of Deliverance. However, every other Opeth album has parts which blow my mind- this one makes me check the track running times. That alone sums it up.