PALE COMMUNION

I was skeptical about the new Opeth's direction. No more growls, no more death metal... I was wondering what was wrong with Mikael. Sure, Heritage was not a bad album, but I really thought something was out of place on that album. Maybe because I was expecting a 'Damnation kind of sound' and I was caught by surprise, in a bad way. Three years passed, and I must admit that Opeth is more alive than ever! Ok, the recipe is pretty much the same as the previous album, but with a much stronger seasoning. Mellotron and Hammond are everywhere on this album, and I really enjoyed the way they were inserted into the songs. This album combines heavier moments with sublime acoustic passages. That's what Opeth do know! I liked almost all the songs of the album. But I highlight the following: Eternal Rains Will Come, Moon Above, Sun Below, Elysian Woes and Voice Of Treason. Five stars!

Bravo! This is a pleasant surprise. To me, Opeth were a quickly fading star with their release of Watershed, and they only clinched it with that disjointed musical smorgasbord Heritage. Now this, a beautiful return to form. And what form.

Gone are the growls of yore and the emphasis is on relatively quiet yet fully dynamic prog passages that still embrace the evil thread of their older music. Expect to hear a lot of Mellotron and Hammond. It could almost be a 70s prog offering if you take out the hifi mixing. Someone mentioned that it's a tad too bass-heavy. I have to say the kick does sound overpowering at times, but the rest of the mix is crystalline.

There aren't any obviously weak tracks here, but the last two, Voice of Treason and Faith in Others are my clear favorites. Cusp of Eternity is memorable too.

Opeth - even if this is not mighty Heavy Metal any more, it is their right to progress. Opeth dare to move into uncharted music territories which means to me they are still "alive" and kicking. As a big fan of Deep Purple I hear some bits of Purple heritage on this album, especially in terms of keyboard work. I am more and more addicted to Pale Communion, it is dynamically "growing" every day. Fantastic hard rock, progressive journey offered by Opeth. I understand fans of growl that may be disappointed, but on the other hand Opeth do not follow Dream Theater, example of stagnation and lack of creativity. I have just realized, that Opeth are quickly climbing on my personal list of favourite bands. Welcome to top 10. In times when bands earn little if anything from selling albums, it is the effort and achievement I respect.

Well Opeth in constant changing. Their last album was in an acoustic line... This one is like a typical Swedish heavy prog...reminds me very much Anekdoten...Anglagard...Paatos..bands that are inspired in 70 ies prog with that Nordic touches. What I have always love from Opeth is their instrumental heavy jazzy passages and Mikael vocals...what I hate are the guttural noises ...very typical of the dark metal albums ...this disgusting and unnecessary element...finally it seem is in the past of Opeth... So now we can listen to a clear ,defined and excellent heavy prog . A very mature album Beautiful songs.. Near a masterpiece in heavy prog ...so I want to prize Opeth.. 5 stars

A good redeeming album dragged down by the mixing

I have always been a huge fan of Opeth. Up until Heritage they could do no wrong in my book. Even though I have clear favourites (blackwater Park, Still Life, Ghost Reveries), all their other work is superb. Heritage was their first album I just couldn't get into. It lacked focus and felt disjointed and rushed. I'll be honest: I feared for Opeth.

Their newest release: Pale Communion has proven me wrong. Heritage was just a misstep, they are still going strong. With Mikael Akerfeldts newfound resentment of heavy metal, the band has taken a more gentle approach to music. In reality this doesn't really change that much to the music. Sure a bit more keys are added (a very good thing imo) and the distortion is less heavy, but otherwise, the music is very similar to what it was before Heritage.

I'm not going to go through all the songs, but I'll say that every song (yes even Cusp of Eternity) has grown on me. I especially like Moon Above, Sun Below, Goblin, and Faith in Others. Musically, this is easily a 4 star album.......

Yet I'm giving it 3..The reason for this is the mixing. Done by the otherwise flawless Steven Wilson, the mixing is way too bass heavy for my ears. Both the bass and the bassdrums are predominantly present. For me, this is distracting enough to lower my rating from 4 to 3 stars. I can only say this is a damn shame, because this could have been really great.

The use of death vocals seems to be a thing of the past for Opeth. I always appreciated the clean vocals from Mikael Akerfeldt. It gives a better view of how he can be a good singer. The previous album Heritage wasn't convincing. Again the band is showing the soft side of their music The song "Eternal Rains will come" display some haunting harmonies progressions with some dark keyboards sound similar to VDGG. "Cups of Eternity" show a vocalization hook repeated almost like an incantation. There are some nice grooves here and a display of heavier guitars. With "Moon, Above, Sun Below" we recognize the same compositions structures of the band with intense and melancholic passages, the melody at the beginning is suddenly switching to a complete new mood so we get the feel that the song is like different parts melt down to build a 10 minutes song, but it works. The song "Goblin" is inspired by the band of the same name with a little touch of jazz. "River" is another different track with some classical rock influence. "Voice of Treason" is another track in which the listener is challenge with the impossibility to reach an accessible melody, like the band was playing with restraint. It illustrates the new direction the band is, by keeping the music outside the extreme metal. The last track "Faith of Others" is full of strings, classical arrangements and some acoustic progressive rock not too far from the band Landberk.

While this release could be perceive as homage to the old progressive rock bands, the retro sound of the organ and mellotron should appeal to old progressive rock fans, it keeps the band own style, less metal than the majority of their albums, but more in the line of Damnation and Heritage. For me, those two albums despite their progressive side were not the best of their discography, but I think the latest is more satisfying and if I had doubt about the direction the band was headed when they took a break from their metal prog, I am more confident for the future that it's the right direction to go now. And Mikael Akerfeldt looks like a musician that is in a mood to do more melodic music with clean vocals the rest of his career.

Opeth have had a very interesting past few years. With the release of their last album "Heritage", the band have had mixed opinions due to their change in sound. One of the biggest problems is the loss of the death metal vocals. Now, I really don't mind if the death metal vocals are not their, in fact "Damnation" is probably one of my favorite Opeth album, but I will admit that the mix of the two styles in their earlier material is probably the reason I got into the band in the first place.

While many people will complain that Opeth aren't the same band anymore we have to take into consideration that these guys are getting older. Mikael really can't growl the way he did 10 years ago and I really respect their decision to loose the death growls. But while Mikael's vocals have gruffly diminished, he has been able to explore the diversity of his clean vocals.

Musically the album is pretty much a progressive rock album with the metal bits saturated. Now I know what your saying..."same as "Heritage" I bet. Well no. I remember seeing Opeth live during their tour for their last album and all I could think of was "this is like stoner psychedelic music"...which it was. This album is a lot more classic prog so I find it very much more enjoyable with more fluid arrangements with less improvisation and more sustenance.

Opener "Eternal Rains Will Come" is a great intro to the album. Starting off with blazing organs and clashing rhythms it then morphs into a more easier listening track with some pretty cool multi layered vocals.

"Cusp Of Eternity" is one of the heavier songs on the album. Reminding me of a more classic heavy metal style, the song has some pretty cool riffs and is a good little nod to an older metal sound.

"Moon Above, Sun Below" is the albums longest track and is probably one of the most diverse tracks on the album. Full of many different moving parts, the real highlight has to be the diversity of Mikael's vocals, showing off some clean gruffness which is a big departure from the evil growls on previous albums.

The ballad of the album "Elysian Woes" is an interesting and soothing moment on the album. I was pretty impressed by the instrumentation of this track, showing some pretty mature and experimental choices of arrangements for guitar and keyboards.

The albums instrumental "Goblin" is an interesting tribute to the 70s prog band Goblin. Full of proggy organs and some interesting prog instrumentation, the song is a prog lovers wet dream.

One of my favorite tracks on the album would have to be "River." Starting off with a very almost joyous feel, this track is very different to what the band have ever done before, with a more lighter and nicer sound to the bands repertoire with very little bleakness or Gothic undertones. May be a new direction for the band.

In conclusion, this album surprised me. I went in expecting to hate it, but I was generally impressed by what I heard. These guys are never going to go back to their earlier styles, but at least it seems they are moving in a better direction than everyone thought they would. A great listen I would recommend to modern and older prog fans.

8.1/10

Genre: Progressive Rock, Progressive Metal, Hard Rock, Doom, Psychedelic Rock, Prog Folk, Folk Rock, Jazz Fusion, Heavy Metal

Country of origin: Sweden

Year of release: 2014

Magnificent.

Keys really stand out in this album. I may be biased as a keyboard player who loves mellotron, so keep that in mind. To be honest a lot of time I will be listening to a song and think to myself, "that sounds alot like something I would've written in a band." I don't know, it really connects with me, the sound they achieved. The riffs are still there, the fantastic softer side of Opeth stands out as usual....the keys have become more dominant but the choice of sounds stayed organic. I hate when bands play metal and add crazy 80's synth patches. Every song on this album just sounds so full. These guys have great melodies, harmonies, song writing skills, and willingness to explore musics different realms and these things are hard to come by these days. Sure the growls are gone, and the distortion is at a minimum....but we have plenty of that from this band in previous albums. Lets see what they have going on in their heads and enjoy and appreciate what they create in this stage of their lives. Maybe the next album will be a little more like the older stuff the purists seem to prefer. I will enjoy every second of something new they put out. If they aren't feeling like writing death metal, they shouldn't force themselves to as the music will suffer. This new heavy prog is coming out beautifully as it must be flowing freely in their minds right now. Great, great band and one of their best albums in my opinion. Best album of 2014.

OK, I will admit I never liked Opeth's brand of Death Metal and growling vocals. But apparently that is in the past, so I figured I would give this new one a try. On first listen, I found myself getting bored about halfway through the album, and I even found it difficult to make it to the end. I mean, it was OK- nothing that would make me excited or even want to listen again. But, I was determined not to give up, and I listened twice more, trying to stay focused and concentrating. However, my reaction on the subsequent listens induced the same reaction as the first listen. Most of the songs have a sameness about them. Maybe with 10 or 20 listens it might register, but for now, I've had enough.

Opeth is one of the progressive rock's most popular bands nowadays and certainly the most famous prog band of Sweden. I have earlier heard and written about "Blackwater Park", a typical dark metal album and that didn't really get my full appreciation. It was too dark and too heavy for me and furthermore I don't like growl. Then comes this album of "Opeth" and changes everything. Here it is no disturbing growl and the metal is held back for the prog. This is in all terms a prog rock record and most of it is lovely. I have now listened to the record some times and feel ready to write som word about it.

"Pale Communion" is Opeth's eleventh studio record and it features Mikael Åkerfeldt on song and guitar, Fredrik Åkesson on guitar, Joakim Svalberg on piano and keyboards, Martín Méndez on bass and Martin Axenrot on drums and percussion. The cover picture shows a stone wall with three colourful paintings of interesting motives. On the small rectangle I see, it is hard to notice the details but I guess it would look lovely on a vinyl record.

The prog music on this record is unique and totally honest. The warm, though melancholic texture of melodies and musical harmonies goes from track to track and through it all the level of the music is high and rich. The album starts powerful with "Eternal rains will come", a true progressive challenge(9/10) and "Cusp of Eternity" is a worthy follower(8/10). The long "Moon above, sun below" is also very interesting for the progressive ear(8/10) and "Elysian woes" is beautiful(9/10) with so much love even if the album's best song is the instrumental "Goblin"(10/10) which actually is a jazz rock tune. I don't think the two ending songs are as good as the others but it could just be because I haven't heard them as many times.

I think this is the best metal album I have heard and I recommend it to every fan of progressive rock. This will also be my start in exploring the others records of this band. This record will get four strong stars of me.

'Pale Communion' - Opeth (83/100)

Admittedly, I had avoided listening to the new Opeth record for a while before finally caving in and checking it out. It's certainly not been for a lack of love for the band or their illustrious career, but rather that I was almost certain to be disappointed by anything in the vein of their post-Watershed retro style. It must have felt like I was a girl waiting on a pregnancy test to see if she was going to have a child with a man she didn't love; the best-case scenario (being that the album was good, or negative on the pregnancy) would be relieving, but there wouldn't be a sense of catharsis or ecstasy involved, the sort of things Opeth's early work was often prone to conjuring. Even if Pale Communion turned out to be good, I supposed, I still wouldn't be able to shake the disappointment over Opeth having exchanged their unique (though countlessly imitated) progressive death metal trademark for some brand of retro-prog- an oxymoron if ever I've known one. Somehow, Opeth's second plunge into this style has succeeded in doing what I previously thought impossible: not only has it sold me on this shift, it has finally proved to me that Mikael Åkerfeldt is capable of brilliance outside the melancholic strains of metal. This is the album Heritage tried to be, the one Storm Corrosion hinted at. Even if it doesn't match the perfection they achieved with Opeth's best work, Pale Communion stands as a refreshing (and unexpected) burst of creative inspiration.

Although I've always had more of my heart in prog than metal news some years ago that Opeth had drifted towards a classic progressive rock style was immediately disappointing. Although the original definition of the style referred to a group of artists who meant to push rock music to the limits of its ambition (often with the help of classical music theory), in recent times it's often associated with hollow musicianship, twenty minute songs that go nowhere, and an overarching desire to relive and fetishize the 'good old days' between 1969 and '75, sort of like a Civil War reenactment but with more mellotrons. Anyways, Heritage was much less guilty of this self-important retro kitsch than Transatlantic or a host of other horrible modern prog acts, but it felt much less relevant than the work they had done before. With Pale Communion, I've realized my dislike of "Heritage" was less to do with the style itself, and moreso the fact it was otherwise incoherent and lacked conviction. There is plenty of the classic prog spirit here (ranging from the legendary King Crimson to Jethro Tull and Italian proggers Goblin) but it's imbued with a life and energy that far outweighs what I'd normally associate with the retrogressive scene.

If anything's changed since 2010, it's that Opeth have become confident enough in this new style to finally outstretch their wings and write full-bodied compositions over the individually appealing ideas that dotted Heritage. With the exception of the sappily cheerful piece of hippie drivel "River", the songwriting is tight and expertly realized. The epic scope adopted in "Eternal Rains Will Come", "Moon Above, Sun Below" or even "Voice of Treason" bridge the previously non-existent gap between Ghost Reveries and Watershed , balancing grooves and general weirdness without letting one get the best of the other. Among these tracks, the gorgeously melancholic closer "Faith in Others" sounds most like the classic Opeth we know, picking up where "Burden" from Watershed left off and arguably being the most emotionally intense ballad the band have ever done, complete with dynamic vocals and sombre string accompaniment. Opeth's musicianship remains a constant joy, with particular props going to Martin Axenrot who, again, fuels the music with some of the best drumming I've heard this side of jazz fusion.

If there was ever something I liked about Heritage, it was it's sense of surprise and general weirdness, as if they had aimed to make an album based around the wigged-out keyboard solo from Watershed's "The Lotus Eater". Opeth have consolidated that weirdness on Pale Communion, bolstering it with the virtues of solid songwriting and form. "Goblin" is a perfect example of this fusion of chaos and order. Taking its name from the band that most readily inspired it (along with heavy doses of King Crimson) the song shifts seamlessly from one disjointed idea to another. I can see it being the track fans will have the most difficult time getting into an appreciating, but it comes together in a way that feels satisfying. While I find the throwback vocal harmonies on "Eternal Rains Will Come" sort of hokey, it's a total masterpiece from the instrumental angle, and while I didn't care for its eerie successor "Cusp of Eternity" when I heard it alone as a single, it enjoys new life within the context of the album. Really, it's just "River" I don't like, and even then it's just for the overly cheery vocal section. Then again, that seems to be the track most people are swooning over. Maybe I'm weird and need to see the cheery side of life more often. Maybe everyone else is wrong.

While I've warmed up to most aspects of this 'new' Opeth, the change in style hasn't translated well with Åkerfeldt's vocals. I'm of the belief he's always been a better harsh vocalist, but even so, his clean singing on Ghost Reveries and Watershed was rich and full of feeling. I'm not getting much of that emotional resonance in Pale Communion. He's lost none of his technical ability or range as a vocalist, but there's something still missing from the formula. My thoughts towards his vocals now are similar to the ones I had for Heritage as a whole; the weight of the influences have become much more apparent in the delivery. Even if Mikael's voice remains distinctive, the performance feels less intimate, and more as if he's adopted a new vocal persona to better fit the progressive rock archetype floating in his head. Sometimes there's a clear nod to Jethro Tull's Ian Anderson, but most times it sounds like he's amalgamated a host of ballsy heavy prog and hard rock vocalists into a melting pot and tried his best to replicate it. Anyone who appreciated the bombastic side of Åkerfeldt's voice will find more to love on Pale Communion, but it doesn't do much for me. With that being said, there are moments (most notably "Moon Above, Sun Below" and "Faith in Others") that highlight what I loved best about his voice.

When all is said and done, I don't think Pale Communion will ever achieve the acclaim of Blackwater Park or Still Life, nor does it strike me in the same life changing ways that my personal favourites Ghost Reveries and Morningrise did. Even so, the album demonstrates a full-bodied return to excellence for Opeth, and confidently demonstrates the amount of potential this new approach has in store. At the very least, it's a conscious improvement from what I consider to be the weakest point in their career. Sure, If I ever wanted to hear vintage prog traditions thoughtfully explored and modernized, I could turn to Änglagård, another group of Swedes that still might do it better than Opeth. I think part of me would still like to hear Opeth return to their golden ratio of prog and death metal, but for what it's worth, I'm very glad this album exists.

i was so looking forward to this album. In theory it should be pure heaven for me: the great growling beast that was Opeth with a new, proggier attitude. Up until Heritage Opeth could do no wrong in my eyes. Not sure what happened there, but I was hoping that Heritage was just a bit of a blip. But no.

If Mikael Akerfeldt really wanted to introduce a proggy element why on earth did he not be truly progressive and make something a bit different (than all the other prog bands)? This is just sub- Steven Wilson music, and they're capable of so much better than that. In the recent collaborations between Steven Wilson and Mikael I'd say that SW definitely got the better end of the deal.

I was hovering between 2 and 3 stars as I never thought I'd be marking Opeth too low, but I'm afraid I'm going with 2 stars. I'm just hoping that the next one will be a return to form.

Opeth show that retro early 70s sound of Heritage was no outlier. There's nary a fat modern metal riff. The music here unfolds on its own pace and is ornamented with sweeping mellotrons, rumbling organs, acoustics and backing strings. Opeth don't try to "outprog" anybody, but instrumentation here is richly detailed, and, I think, strikes a balance between melancholic and more energetic sections, accessibility and complexity, length and compactness. If there is a nod to Opeth of old, is that the longer songs may seem to be disjointed, even though there's certainly no filler songs here. One may not agree with directions that some songs may take (such as the obvious influence of King Crimson's Starless, first melancholic "crooning " part, in Faith in Others, or the uncharacteristic hippy-esque first half of River (don't worry, it gets heavier later on), but taken together, Opeth diverse catalogue would make a hell of a live show.

3.8 Stars

Pale Communion (PC) is the 11th album by the veteran band Opeth and the second that fully abandons their Death Metal past in exchange for full 70s Prog (Damnation does not count). The previous album Heritage was in my opinion by far the worst thing Opeth had ever done, mainly due to the horrific songwriting and that hardly anything in the album sounded like Opeth! It was not easy to know when a song started or finished nor was there any flow within the songs or album in general. I initially gave it 2 stars but I have now reduced it to 1.

For these reasons I was very worried about this album as it would determine if I continued buying Opeth albums or not. My initial reaction to PC was that it was significantly better than Heritage but I needed time to fully get into it. And as I predicted PC has grown on me over time until I was finally ready to review it.

PC has many similarities to Heritage with its Classic Prog instrumentation, production and songwriting, but where it differs is the cohesion within each song and that they have re-incorporated some of the key aspects of the Opeth sound. Its now possible to know where each song is roughly going unlike before where it was very random and jarring. There are still some re-occurring problems which were present on Heritage, but its not as bad or frequent as before.

"Eternal rains will come" starts with a bang! There is a blast of keyboards, drums and guitars firing off in a complex arrangement. It then settles down briefly before going crazy again. A peaceful guitar instrumental follows which then leads into the main theme of the song. Here we find another thing Heritage lacked; hooks. The vocals are extremely catchy, uncluttered and leave a immediate effect. The song finishes as it starts with more intense instrumentals and some powerful singing from Mikael Åkerfeldt. A great start!

"Cusp of eternity" was the single from this album so as you would expect its the catchiest and easiest to digest. Its a reasonably heavy song with some aspects of metal in the electric guitar work. The pace is constantly fast and restless but there are still some strong hooks to be found, especially in the chorus. There is also a tasty Prog Metal instrumental at the end which is a great pleasure to hear. They have not totally lost their metal edge, only suppressed it.

"Moon above, Sun below" also starts with a fast pace which then turns into one of the heaviest parts of the album. There is a point here where Mikael is on the verge of doing a Death Growl, but he stops himself. Its a bit of a shame, I would like him to use it every now and again (his voice is no longer strong enough to constantly growl). Things quieten down into one of those acoustic guitar breaks that were found on many of the Death Metal tracks. The song then goes though many load and quiet twists and turns as you would expect from a 11 min song. The key thing though is that the choices made all make sense unlike that found on the longer songs in Heritage. The ending is also very catchy and reasonably heavy. Fans of old Opeth will probably find this the best song on the album.

"Elysian woes" has a very strong Damnation vibe throughout the song (i.e very gloomy, quiet and guitar driven). So strong that if it were on that album nobody would have thought it out of the ordinary. The only slight deviation is towards the end which starts to get loader and more intense, but this quickly fades as the song ends. Its a decent track but no where near as interesting as the first 3 songs.

"Goblin" is a instrumental which is a big tribute to the band Goblin, so much so that it does not sound like Opeth at all but a 70s Jazz Fusion band. While the song is complex its still quite repetitive and forgettable. I see it as the weakest song on PC simply as they are not in their comfort zone and so cannot come up with anything very interesting or unique.

"River" starts with some amazing vocal harmonies that are incredibly infectious and powerful. The melody also works perfectly with it to make some of the best minutes on the album. Its not common for Opeth to sound positive and upbeat but if this is the outcome then I defiantly want to hear them do this more often! The songs progresses into some complex instrumentals which keep the energy present at the start of the song. During this time the song darkens somewhat, just to remind people that this is still a Opeth album. The best parts of this song remind me quite a lot of Steven Wilson's The Raven which is a big complement!

"Voice of treason" however is not very strong. Its more like typical aggressive Opeth without the Death Metal and that's the main problem with the song. Whenever they try to go all out it does not work properly. They have not mastered how to be really heavy without doing Death Metal yet. When I say this I mean like what King Crimson or Van Der Graff can do without going into metal. Its a alright song but easy enough to forget and ignore.

"Faith in Others" is very different to the other songs Opeth have written. It is very emotional and grand in sound and uses strings throughout a lot of the song. Its not really a ballad though, they still have several twists to ensure that fans don't criticize it as commercial. It takes a few listens for the beauty of the song to be fully appreciated, but once you do its one of the best songs they have written. A perfect closer.

So there are 5 songs on PC that I really like and 3 alright but far from amazing songs (which would be highlights on Heritage!), so 4 stars seems to be a fair rating. Its not a masterpiece as the current ratings show it, but a solid return to form. I was not optimistic for the future of Opeth beforehand but now I am. Its still not at the level of Death Metal Opeth though and I hope one day they will go back to that. But for now I am satisfied.

This is a good album. The mixes are a bit off--vocals and drums often mixed too far back. Performances are top notch but they feel too often a bit too "heavy prog by numbers." The b vox are less-than inspiring as are some of the leads. And drummer extraordinaire Martin Axenrot doesn't have as many mind-blowing moments as I heard on Heritage. The electric guitar work is solid and shines most in its workman like steady-riffing. I was one of the few who really enjoyed (enjoys) Heritage. The folky, acoustic side of Opeth--like that of "Elysian Woes"--has always been what has drawn me in most to this group. The organ play on the album opener, "Eternal Rains Will Come" make it a pleaser. "Cusp of Eternity" is the one that best showcases Martin's drumming prowess--and feels the closest to the beloved Opeth of "old." The Goblin tribute is awesome. (It's nice to see more people acknowledging the genius of that Italian band). "River" could almost come from a Wishbone Ash album from the 70s. "Voice of Treason" is enjoyable but feels like . . . it's been done. "Faith in Others" is probably my favorite from this album for its dynamic range and the way it showcases the vocal variety of Mikael Akerfeldt. The album's "epic," "Moon Above, Sun Below" just never comes out and grabs me, kind of meanders and morphs around without ever seeming to know where it's going. This is a 3.5 star album that I will continue to listen to--though I have the suspicion that it will not hold my interest for very much longer. There's just too much other really good, fresh music that this has to compete with.

It appears that Opeth has left behind their death metal roots. They seemed to be gradually moving to a more mature,

less growly tone. "Heritage" completed that move, garnering wide attention, even earning them a featured artist

spot on NPR and the NPR website. Pale Communion cements that change and improves upon it.

Like "Heritage", "Pale Communion" blends classic prog sounds and themes with modern metal, with an emphasis on

Middle Eastern motifs. Like Haken, Opeth works this to come up with their own original sound that also pays homage

to their prog forbears.

The album starts out impressively. Eternal Rains Will Come begins like an avant- metal fusion piece, but then eases into a psychedelic folk piece, with hints of Allman Brothers-like southern rock. Quite unecpected, and a complete joy. Cusp Of Eternity expand on the Middle Eastern themed metal of the previous album, and leads to the best track, Moon Above, Sun Below. This piece is a multi-themed epic, that must be heard.

Other standout tracks (on an almost flawless album) are Goblin, a classic seventies styled fusion track, complete with that ubiquitous electric piano sound, and Faith In Others, a track that owes more than a little to King Crimson's Epitaph.

This album has dominated my stereo for much of the summer, even edging out the fantastic new recording of Thick As A Brick.

Very close to perfect.

I have been following Opeth one way or another for some years. I picked them up around the Damnation/Deliverance period and found the juxtaposition of the Death meta with melodic vocals and some fabulous melodies really addicitive. I suppose my favourite thing about the band is how they have continued to change each record introducing something new and different. This record is once again a further change from Heritage , Watershed and Ghost Reveries and the strength of it is seen when you go back and listen to those again.

Its full of classic 70's progressive sounds the keyboards and mellotron are all over the songs though not dominating. I am not a studio engineer so I am not going to comment too much on mixes and vocal positioning. To me it all sounds warm and and a bit retro sort of like a Led Zepplin album which I am sure was the desired effect. It does sound just like something from the late 70's but natural not contrived and that is something I really like about it.

The songs vary in style in some ways its a tribute to various prog luminaries like Yes, King Crimson and others. I have to admit I am not an authority on those but yeah I get the idea Akerfeldt has never been shy about displaying his influences.

I would have enjoyed a little more variation in the vocals I think a guest would have been nice for contrast. But that said its really strong on melody and the harmonies. The guitar solos are fantastic flights of skill the drummer is on a special jazz groove trip and the keyboards whirl and swirl and provide great momentum.

Mikael Akerfeld is really doing a sterling job of being an artist. He and his band are only interested in making the music they feel they need to make now, not the best bits from their biggest selling album or whatever some record company dope says is popular right now. Of course among Prog type groups this sort of thing is expected but still I think they should be applauded for not playing it safe. For those mourning the loss to metal - well the back catalog in that department is pretty strong..I wouldn't panic - I am sure they haven't forgotten how to produce top quality heaviness if they feel the need.

Overall its a top class record will be listening to for years to come like a lot of other opeth work. - support artists - get it.

There was too much 'talkabout' on Opeth's new album. I loved Heritage (2011) thought it was a fantastic new sound for the band. Now, all this talking about the band kind put me off a bit, especially after the horrific weak single released before the album ('Cusp Of Eternity') so I waited to listen to their new album, Pale Communion (2014).

Now, I'm giving it a spin on it through Spotify and what can I say, track one 'Eternal Rains Will Come' is simply outstanding, amazing track. Then off we go to 'Cusp Of Eternity' that's way too much SW for me, and Opeth is better than him, doesn't work really. Good that 'Moon Above, Sun Below' comes in to erase the previous track very well indeed. 'Elysian Woes' continues the high quality path, but acoustically.

While 'Goblin' indeed reminds the classic Italian band, 'River' is a folk ballad in the same path of Rush's 'Rivendell'. 'Voice Of Treason' and 'Faith In Others' continue the good path of the album.

Pale Communion (2014) is able to bring all the classic Prog Rock that I love with a fresh air to it, and that's why this is so interesting and one of the great releases of the year that so far was so week.

4.5 stars really!

Recommended!

Opeth are a band undergoing a radical, and for myself very welcome, evolution. By their frenetic standards, 'Pale Communion' is a mellow and at times almost commercial album. But the magical guitar work, and fascinating drumming, are ever-present in this superb production. The instrumental side of Opeth has always excited me, but I have never been able to leave square one as far as the dreadful growls were concerned. Now two consecutive albums with clean vocals mean we can begin to believe the growls are gone for good. For myself, 'Pale Communion' does not quite match the excitement and constant surprises of its magnificent predecessor 'Heritage', but the musical mastery and innovation still deserve masterpiece status. And a top 20 chart position in my own country - prog bands do not often achieve that these days, well done!

Verdict: Einwahn's #1 album of 2014.

"Pale Communion" is the 11th full-length studio album by Swedish progressive rock/metal act Opeth. The album was released through Roadrunner Records in August 2014. There´s been a lineup change since "Heritage (2011)" as keyboard player Per Wiberg has been replaced by Joakim Svalberg.

With "Heritage (2011)", Opeth more or less took a left turn fully embracing a 70s influenced progressive hard rock sound and leaving their death metal past behind. They did a similar thing on "Damnation (2003)" but returned to their trademark progressive death metal sound on the next couple of albums. This time around they seem to mean business though and as "Pale Communion" is now their second album in a row which features a 70s influenced progressive hard rock sound, we can probably safely assume that the band´s death metal days are now behind them and that a new chapter in the band´s history began with "Heritage (2011)".

So the music on "Pale Communion" is a continuation of the progressive hard rock sound on "Heritage (2011)" and as such has little to do with metal although there are some hard rocking riffing on the album and references to artists like Deep Purple, Uriah Heep, and Atomic Rooster are valid enough (also because of the dominant use of organ). But there are references to a lot of 70s artists and musical styles on the album. Vocalist/guitarist/main composer Mikael Åkerfeldt are known for his broad tastes in music and you´ll hear elements from both hard rock, symphonic progressive rock (the sections with mellotron and the sections with orchestration are beautiful), folk rock, and even a whiff of jazz rock on "Pale Communion", which is ultimately a pretty varied album.

The description above can more or less also be applied to "Heritage (2011)", but "Pale Communion" is not a sequal clone of that album, as the band have opted for a more structured and melodic sound on this album compared to the more messy sounding "Heritage (2011)". "Heritage (2011)" often sounded like Mikael Åkerfeldt had 10.000 ideas and was hellbent to cram them all on the album. That ultimately made that album quite an adventurous ride but at the same time not the most memorable or well composed one. With "Pale Communion" it seems that Åkerfeldt has cut a bit more to the bone and focused on the actual compositions and the longivity of the melody lines. As a result "Pale Communion" is instantly memorable and quite a bit more accessible compared to it´s predecessor.

"Pale Communion" is produced by Mikael Åkerfeldt and mixed by Steven Wilson (Porcupine Tree) and not surprisingly the album is graced with a warm, detailed, and organic sounding production, which suits the music perfectly. The musicianship are as always of high class. The instrumental performances are organic and tight and Mikael Åkerfeldt´s vocals are distinct sounding and delivered with conviction. The use of choirs and backing- and harmony vocals on many tracks are great assets to the music too.

The album features an overall great flow and all tracks are memorable after only a few listens although complex enough to ensure longivity. It´s not easy to pick standout tracks on an album where all tracks are equally great, but I´d like to mention the closing trio of tracks, "River", "Voice of Treason", and "Faith in Others", as some of the highlights. The former because of the surprising shift in atmosphere (here is a track where several different sounding compositional ideas work well together) and the two latter (which seque into each other to form a sort of mini suite) for their intriguing emotional impact and use of orchestration. But then again I could have mentioned any track off "Pale Communion" and call it a highlight.

While "Pale Communion" certainly digs deep into the 70s progressive rock and hard rock scene for inspiration and does feature a retro sound, it doesn´t feel as forced as it´s predecessor did. It´s more fresh sounding, more musical, and overall just a better and more memorable release. I was beginning to wonder where Opeth were heading with "Heritage (2011)", but with "Pale Communion" I think they are back on the right track. A track that brings promises of even greater future output in this style. A 4.5 star (90%) rating is deserved.

After being impressed with Opeth's wonderful "Heritage" album my hopes were set very high on "Pale Communion". I make no secret of my dislike for really abrasive growls in Prog. I believe Opeth's finest hour is the melancholy and haunting "Damnation" and now they are blending that beautiful vocal approach with the progginess of "Heritage" to produce one of the albums of the year.

"Pale Communion" is a stunning album on every level, opening with a soundscape of keyboard layers, capturing a dramatic ambience from the start. The vocals are harmonized and sound not unlike the style of Yes in some ways. Perfect harmonies, and easily decipherable lyrics on "Eternal Rains Will Come".

This is followed by the one that hit the online community in the initial stages, "Cusp of Eternity". Akerfeldt's voice is sensational as always, he won't be growling on this album. The catchy chorus hook will settle in your brain after a few listens. Definitely a keeper in the Opeth greatest hits package.

"Moon Above, Sun Below" is an 11ish minute mini epic with a steady rhythm and some glorious guitar and keyboard flourishes. There is a darker feel on this with the vocal style, more aggression and heavier riffs, though this is still as far removed from the style on "Deliverance" as you can imagine. The hypnotic mantra of the title will engrave itself upon you, then there is a gorgeous twin guitar section. After this tranquility Akesson launches into a blinding lead break. Then it settles into a haunting keyboard motif and reverberated vocals. This is so catchy it always jumps out on the album. The melodies are as good as Opeth gets.

"Elysian Woes" is driven by somber acoustics and vocals at first. Akerfeldt's voice is crystalline clear; surely one of the greatest vocalists this year. The influence of Steven Wilson shines through. The melancholy approach is startling, with beautiful guitar interplay and some angelic keyboards at the touch of Svalberg.

"Goblin" is an instrumental driven by raging keyboard finesse and quirky time sigs. "River" returns to quiet solitude with acoustics, sweet harmonies and pleasant lead guitar soloing. I love how the time sig changes and locks into a twisted meter and some incredible lead guitar trade offs. The Hammond is delicious and oh the sweetness of the Mellotron!

"Voice of Treason" has a fantastic drumming performance from Axenrot and those keyboards are absolutely divine. This is a powerhouse track that springs from nowhere and it keeps building with amazing vocals and ominous musical embellishments. The bass solo of Mendez works nicely with the drums. The staccato violin style keys remind me of the recent James Bond theme song. This track is a definitive highlight that gets better on every listen.

"Faith in Others" closes things with Mellotron soundscapes encapsulating a Pink Floyd atmosphere. The mood swings from dramatic tension to a very heartfelt gentle emotion at the end. Mellotrons float lambently to the end as Akerfeldt croons softly. It is an effortless light approach from Opeth that may surprise some with its consistence ambience.

There's not a shred of metal on "Pale Communion" so headbangers keep your distance. This album is more symphonic than anything Opeth have done previously. It is another "Heritage" style exploration of retro prog?and I like it!

First of all I want to say that Opeth is my favorite band, and I think this album is a gem in the PROG ROCK, but I admit that I was disappointed much of their retro sound and exaggerated eclecticism in a genre that is far away from the origin of Opeth: the exceptional and fabulous artistic career of a band that has been followed as a reference in the history of metal-prog.

If this work belong to any other group within the sub-genre known as "heavy prog", my rating would have been four stars (or five, maybe). Because I admit it's very very good. But, I'm sorry, not for Opeth.

Pale Communion is for me a continuation of Heritage, and I need to think of a resting place with a creative crisis in a genre that Opeth may not know or want to contribute more, for now. Or at least that's how I feel after listening many times this record, your score deserves four stars, but I keep forgetting as I await the return of those wonders which were "Blackwater park", "Still Life" or "Ghost Reveries".

There are many answers that respond to why it sounds like Opeth. I know (And I'm not talking about S. Wilson and all that continues to influence the collaboration). I also know that it is normal for a group progresses towards other artistic paths. I have to keep giving thanks for still enjoy their music, but I hope the return of true Opeth, not this one we have now.

Gosh, this is not what I normally would expect from a band like OPETH! They never have totally disappeared off my radar, but I seem to remember that Mikael Åkerfeldt has been a friend of death metal and growls in earlier times, which is not my cup of tea in general. Now yet this sounds like a radical turn somehow, spirtually akin to Pain Of Salvation with their album 'Road Salt Two' maybe. Well in any case, while trying to regard this music totally unbiased firstly, 'Pale Communion' marks a great leap towards melodic heavy progressive rock, for what it's worth.

Some may say this comes because Steven Wilson is involved in the production. This might be only half of the story though - I'm quite sure Mikael Åkerfeldt and his mates wanted to produce such a thing with intent, and so they've invited him to get on board, just in order to make it good, really good. Wise idea, isn't it? Take your chance, as not every artist or band will ever get the possibility to collaborate with such a prolific musician and sound engineer. Anyway, now to the songs as such which are arranged like a chain of pearls.

The opener Eternal Rains Will Come makes it immediately clear - the keyboards are placed with a symphonic touch overall, due to the vintage expression, which also includes mellotron and Hammond organ. Åkerfeldt's voice is beneficially charming, yeah, especially proved on the following groove rocker Cusp Of Eternity. Like on Elysian Woes beautifully relaxed parts are given featuring acoustic guitar and piano. The fantastic Goblin steps out of line a bit, as the song appears like a fusion infected jam, probably in reminiscence to the eponymous Italian band.

Provided with some oriental delicacies I do like the dramatic Voice Of Treason very much, excellent musicanship, a real treasure. With 'Pale Communion' the band offer a rather accessible, though by far not trivial album, which excludes nearly any (extreme) metal approach this time. Provided with symphonic and jazzy touches here we have a recommendable production which by now belongs to my 2014 top ten list. Congrats! That makes my day in the end, as I'm fond of being surprised here and there!

I think I'm going to have to retract some of the statements I have made about classic prog revival in the past. Sure, 95% of it is crap, and aims for a sound that can never sound good and fresh in the 21st century - namely the Yes/Genesis style of symphonic prog, which always sounds corny and cheese-ridden, with floaty synths and floaty Jon Anderson vocals all bubbling up like some soup of glittery nonsense, with absolutely no punch or impact, and none of the insane compositional and structural ability of those classic bands. But if one thing has been proven to me by Motorpsycho and Jess and the Ancient Ones and Hail Spirit Noir and even Steven Wilson, while Yes revival prog may sound terrible, King Crimson revival prog can truly be awesome.

Many have said this is the record that Heritage should have been, but I'd still be hesitant to say that. Heritage not only had the hard time of being the first album after a big stylistic change, but the fact that it was also their weakest album compositionally since My Arms, Your Hearse made it the focal point of a lot of harsh statements towards Opeth. And although their compositional skill is back with a vengeance on Pale Communion, I can't help but feel if this was released where Heritage was, it would still get a fair bit of [&*!#] flung at it. But yes, this is pretty much Heritage, Part II: Actually Good Version. The stellar riffs and melodies are back, Akerfeldt's vocals are sounding as great as ever, and there are even some new parts that sound like Opeth being truly fresh, as opposed to taking their old sound and painting it 1970's like they did on Heritage.

But despite my comments on this sounding like King Crimson, what this really sounds like is actually Steven Wilson's The Raven That Refused to Sing (And Other Stories). Yes, of course, that album sounds like King Crimson and therefore this does too, but the best description of this album is "literally Raven with Akerfeldt singing". The nods to Wilson in both composition and style are everywhere on this record, and not just because his incredibly distinctive backing harmonies are also everywhere on this record. Opener "Eternal Rains Will Come" is possibly the biggest tribute Mikael could make to his boyfriend's latest album, complete with flute setting on the organ, huge ramped up refrains (think "The Holy Drinker"), and the aforementioned vocal harmonies coming in at full volume. But it's not just that - "Cusp of Eternity" is this album's version of "The Pin Drop", "Faith in Others" is Raven's title track, and the proggy instrumental section of "River" and "Goblin" are the equivalents of "Luminol". And although this is certainly a tad uninspired in that regard, I'm sure as hell not complaining. If Raven was proof that prog revival albums could actually be good if done by the right people, then Pale Communion is the consolidation. Although this does slip a bit in comparison to Raven from a compositional and inspirational perspective, the thing that makes this album so great is in fact the point of difference - Akerfeldt's voice.

When Opeth dropped the growls, many people were complaining their new material would lack the awesome light/dark, soft/loud, yin-yang sort of songwriting style that Opeth had become known for, and the albums would start to become one-dimensional and unchanging. And sure, although I am still not a fan of harsh vocals, I loved the power that Mikael's brilliant roar put into the heavy sections, in contrast with his beautiful melancholic cleans. But I think, on this record, he's found a way to give that same contrast with only clean vocals, ever increasing the number of strong melodies in this album. The choruses here are immense - Mikael's voice is smothered in reverb and delay and he's belting it at the top of his lungs, and it's majestically good. It's the sort of thing that Steven Wilson wishes he could do with his songs, but he obviously doesn't have the lungs for it. Vocally, this is potentially Akerfeldt's strongest, his voice is right in the centre of the album, creating powerful, epic melodies in the heavy sections and moody, melancholic ones for the quiet sections. The ending of "Moon Above, Sun Below" is probably the best example of the former, even if the rest of the song leaves much to be desired. The vocal effects give a quite dark, haunting vibe to his voice, and in addition to the slightly psychedelic guitar tones and trembling, atmospheric organs, it does bring that kind of evil and twisted vibe that many early 70's psych rock and early metal albums went for.

Outside of the vocals here, we have a bit of a mixed bag instrumentally. Ever since Martin Axenrot took over the drumkit for 2008's Watershed, he has been slowly crawling up my list of favourite drummers, and while this isn't the impressive technical onslaught that Watershed was, he still gets some fairly good runs, bringing his awesome as hell hi-hat work into a couple of moments, and working with the flattest snare since In the Court of the Crimson King, gets to play some fills that take influence from nearly every great drummer from the early 70's. And in combination with Mendez' much more prominent bass guitar, they get some insanely good grooves going. "Cusp of Eternity" is probably my favourite track here for the combination of the insanely catchy guitar/bass groove and Akerfeldt's epic chorus vocals. As for the guitars, Akerfeldt's playing here is still proficient and good, although it is nowhere near the focal point that it was in their older albums. He can still clearly come up with some nice fiddly acoustic parts (although one here is directly ripped from Blackwater Park), and his heavy guitar has shifted from slide riffs upon slide riffs to a development of the twisted psychedelic riffing he started venturing into on Heritage.

But as with any prog revival album, we're going to have some negative effects, and the negatives here are quite a bit more notable than they were on Raven. For starters, the organ on this record does slip into some rather corny and embarrassing cheesed out parts. The very start of this album, in fact, opens with the organ playing a pretty gross tone, and while it hides away and plays Steven Wilson-esque flutes for a while, it does rear its head again during "Goblin" and the second half of "River". "River" in particular, is a weird one, considering that the first half is honestly the happiest I have ever heard Opeth be. It's quite delightful and pretty actually, with awesome harmonies and serene atmospheres, but then for some reason the warbling noisebox comes in and [&*!#]s all over any atmosphere or mood, before breaking into a rather wanky and unrefined jam section. "Goblin", despite being an instrumental track, isn't quite as bad, but it isn't really good either. Some decent grooves come into play, but some terrible organ parts and wanky guitar solos cancel them out, making it overall pretty forgettable and unnecessary.

But the organ isn't all too bad, and in fact it is a deciding factor in one of my favourite songs on this album - closer "Faith in Others". Taking another page out of In the Court of the Crimson King, the organ isn't here to fart corny melodies all over the place, it's there in the deep background being atmospheric and casting a mournful haze all over the track, even reminding me a bit of the way Dire Straits used organ in their mid-career. Some beautiful strings add to the organ ambience here, as well as on "Voice of Treason", which is my other big favourite from this album. The melodies on the closer are some of the best, and despite running a few minutes overtime, is honestly one of the best slow moody tracks that Opeth have ever done.

Honestly, I feel this is not only Opeth's best record since Ghost Reveries, but it's their best overall behind the holy trinity of progressive death metal (Still Life, Blackwater Park, Ghost Reveries). Aside from "Goblin", I enjoy a great deal of every song here, with Akerfeldt's melody-finding ability being truly back on song. It has problems - the 70's worship does pull a bit of corny stuff in with it, and some of the tracks have the classic Opeth patchwork songwriting problem ("Moon Above, Sun Below" just sounds like a stack of (admittedly good) segments with no coherence between them whatsoever), but overall this is a really impressive return to form. I don't expect Opeth to return to the status they were on in the early 2000's - this is too derivative stylistically to gain the status of pioneers, but it's good to see that they can still put out a compositionally strong record, and now that they're out of the spotlight as the biggest prog metal band in the world, they can quietly put out great records of whatever they want in the corner without anyone really caring.

8.6

Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog

I still regard OPETH's "Damnation" album as my favourite but "Pale Communion" really impressed me, and no i'm not surprised that it garnered "Album of the Year" here at Prog Archives. What a beautiful recording this is with Akerfeldt's haunting vocals and a lineup that instrumentally doesn't play second fiddle to any band out there. This album was produced by Akerfeldt and mixed by his good friend Steven Wilson and I have to say that this couldn't possibly "sound" more incredible.

"Eternal Rains Will Come" hits the ground running with such an impressive instrumental intro. The drumming is crazy good and I have to mention the organ here as well as being simply outstanding. A gorgeous calm arrives 1 1/2 minutes in that is very "Damnation" like. It then kicks back in a minute later before we get vocals for the first time after 3 minutes. Love the guitar 4 1/2 minutes in and the sampled mellotron is a nice touch after 5 minutes. "Cusp Of Eternity" has a cool rhythm to it as the vocals join in well before a minute. The backing vocals really add to the sound here. Nice guitar solo after 3 1/2 minutes then it ends with lots of vocal melodies.

"Moon Above, Sun Below" has such a good mood to it and the vocals are reserved, almost spoken to start. Some good contrasts on this one between the mellow and the more intense passages. Mellotron rolls in around 1 1/2 minutes followed by a calm after 2 minutes as we get another "Damnation" like section with picked guitar and more. It then kicks in fairly hard with vocals 4 1/2 minutes in as the guitar rips it up. Another calm arrives as contrasts continue. A spooky calm 6 1/2 minutes in then a cool organ/drum section takes over as vocals join in. "Elysian Woes" is my favourite track with those "Damnation" like vocals from Akerfeldt as picked guitar helps out. I think that's flute before 2 minutes after the vocals have stopped. It's absolutely beautiful(gulp) before 3 1/2 minutes with mellotron.

"Goblin" really sounds like it has an electronic vibe to it before it becomes a little more intense. Check out the keyboards after 2 1/2 minutes. There's so much going on as we get this tapestry of intricate sounds that are relentless. "River" is a little different with the soft vocals that have an almost Country feel to them and there's harmonies too. A tasteful guitar solo arrives 2 minutes in. I like the keyboard/drum/guitar section 4 1/2 minutes in then mellotron joins in a minute later. A good but not great tune that gets better as it plays out.

"Voice Of Treason" is different with strings helping out. Love the drumming and melancholic vocals. Vocal melodies 3 minutes in then back to that earlier soundscape with vocals. Great sound 6 minutes in. "Faith In Others" opens with strings as expressive vocals join in. Not big on this section that will return later. I like the calm with piano before 2 minutes and the reserved vocals as well. It turns fuller 3 1/2 minutes in and we get vocal melodies as well. Themes are repeated.

Just a fantastic recording that has been simply a joy to listen to this past week despite the extreme cold we've been getting up here in Canada.

Heavy electricity is the first thought that comes to mind when hearing Opeth's latest, critically lauded release, "Pale Communion". The haywire activity is tempered by a softer side, a detail-oriented recall of other styles well within the prog frame work, certainly more focused on creating melancholic moods and more solemn atmospheres. Like a few fans, I prefer the melodic swoon of past albums like "Damnation", a clear influence on this recording, as leader Mikael Akerfeldt opts for a more symphonic situation to expound on his internal frailties.

"Eternal Rains Will Come" possesses a doomsday disposition, morose and apocalyptic, a cauldron of slithering sounds that weave between despair and delirium, impossible swirls of bombast coupled with serene, almost medieval sections, muscled by a tight rhythm section with newcomer Martin Axenrot supplying some terrific propulsion. The main mellotron-doused melody is an emotional bulldozer, profound and forlorn, with Akerfeldt's voice delivering intensely.

The heavier "Cusp of Eternity" flexes some serious tendons, the chorus in particular grabbing one's immediate attention, as the vocal veers near hypnotized prayer, or at least some semblance of forgiving finality. Lead guitarist Fredrik Akesson does some Holdsworthian stylings that are a joy to behold, the crew tight as a screw, Joakim Svalberg's smoking mellotron oozing hymn-like splendor and the nimble Axenrot doing some clanging damage on his cymbals.

The first major epic is the 10 minute + hurricane "Moon Above, Sun Below", a platform for the Swedes to get hot, oiled and bothered, sounding close to their Polish pals in Riverside but ruled by a dense onslaught of symphonic keyboards. This is balanced by another Renaissance-style acoustic guitar-led etude that shines ever so brightly, buoyed by another fragile Akerfeldt vocal. Slowly, the tension is upgraded into another delirium-infested intervention, including a disturbing organ lead that seems to have been plugged into a cemetery socket. Shifting gears on a straight ahead musical highway only heightens the sense of unending adventure, exhilarating and intrepid. The piano finale is beyond beauty.

The softer side is elegantly anointed with a rather stunning piece, "Elysian Woes" has a near early Genesis feel, what with rich acoustic guitars weaving a sleek tapestry of sound, all delicacy and substance. The gentle drums enter, a refined mellotron in tow and a powerful vocal that is literally dripping with melancholia and pain.

The aptly titled "Goblin" provides an instrumental jam that seeks to underscore the musical talents available, an almost jazz-rock section led by a furious e-piano (love that instrument) with a manically repetitive guitar riff that paralyzes the defenses, as the boogie-woogie roller organ kicks in with unrelenting determination. Absolutely riveting stuff.

The controversial "River" is considered as one of the highlight moments on a set list of highlight tracks, offering up a curiously more country-like feel, almost like British band Traffic or the Allman brothers with tons of slick organ frills, rebellious guitar licks, as well as sublimely solid bass lines from Martin Mendez and Axenrot's flexible drum beats. The magnificent mellotron creeps in again to further confound and excite the senses. The raucous finale is shoved along by some massive vocalizations that reach for the stars.

The murky, doom-laden "Voice of Treason" infuses a Middle Eastern tinge, perhaps a musical discourse on current times and ongoing millenary issues. Axenrot supplies a dynamic binary assault that really stands out in its simple complexity, the bombastic synthesized electronics given this 8 minute piece an ominous almost grisly tone, pained vocals only adding to the impression. The reptilian bass shows little mercy, the chorus is nearly celestial with Akerfeldt going into overdrive and the sincerity utterly apparent, especially the broken and fragile outro. Gulp!

I am a sucker for anything even remotely resembling King Crimson's mythic anthem "Epitaph", as I, among many others, view this symbolic track as a prog icon of the highest standing. "Faith in Others" supplies some similar features, everything from the galactic mellotron rushes, the achingly gorgeous vocal and the simple funereal beat. This is all about feeling, a sense of reverential acceptance, a hymn of unmitigated power and seductive charm. The piano and vocal section is painfully tragic yet utterly beautiful in its breathtaking simplicity. The bluesy guitar cadence, the 'oooh-oooh' choir , the mellotron cascade all combine to rekindle memories of the Crimson King's Court, audaciously even daring to replicate an effect ?laden chorus . I could listen to this track on an endless loop and still be completely satisfied! The 'oooh-oooh' choir returns with some classic orchestrations to give this a totally symphonic veneer and a gentle, misty wave goodbye.

As far as I am concerned, this is the Opeth I prefer, not caring much for their other albums except for the previously lauded "Damnation". Not surprising then that this has garnered so much attention and adulation.

4.5 timid intimacies

For me, what is missing is the jump the band in some of their songs were announcing. In the parts when the rhythm and melody are soft and slow, the obscure melancholic background is great. The problem, I believe, is that it left you with empty hands. I mean, it is like if the song were promising something that never arrive. Thats why after a while I got bored hearing the same tune over and over again. Some parts where interesting, I really enjoy hearing that creative moments particullary with the guitar and drums. But it do not last to much when it turned again to the same melody.

I had very complimentary things to say about Opeth's previous album Heritage; in fact, I think I said that it is pretty much my favorite of this band's many excellent works.

That is, until I let the lush, emotive, dark, nuanced, and all together captivating experience of Pale Communion sink in.

I'm going to just say it: this is probably the best Opeth album to date, and for a band with a constant string of prog highlights over the past 15 years, that's saying something. Pale Communion shows the band topping themselves once again with what is their most textured, subtle, and beautiful album yet. The moments of song writing class and instrumental virtuosity here are beyond count, from the heavy opening and aggressive playing of the opening track, the sweeping drama and myriad tempo and tonal changes of the epic "Moon Above, Sun Below," to the final melancholy sustains of the closing "Faith in Others". Songs are intense and mellow and soaring and delicate and cryptic and poetic and memorable all at once.

The band plays incomparably well, especially the rhythm section; bassist Mendez gives what may be host most interesting and melodic performance yet. Svalberg's mellotron and keyboards are achingly well utilized, giving the album a very classic prog sound without sacrificing the dark and brooding tone of the band. Akerfeldt's vocals are simply smashing, perhaps his best yet, especially during the moments of crescendo that punctuates the poetic melancholy of the lyrics. Simply outstanding playing from each member. They've created an exciting, engaging, and brilliantly executed record.

Pale Communion shows Opeth drifting more and more from the death-metal harshness of their early releases, yet not the spark of energy that helped make those albums so great. Maybe the growls and electric devastation will return in subsequent works, but I am very happy that they've taken this direction recently; it's created genuinely excellent musical experiences, with Pale Communion being what may be impossible to top. Not to be missed!

Songwriting: 5 - Instrumental Performances: 5 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 5

My opinions on Opeth's recent release have changed considerably over time. As someone who got into them through albums such as Blackwater Park and Ghost Reveries, the change that I saw them going through was a little too much for me. I saw Heritage as good one off album, but nothing I'd want to hear again. Then came Pale Communion and I was very disappointed, deeply missing the death metal elements that made me fall for Opeth.

However, the things about palettes and tastes is that, with proper training, they mature over time. Many bands in both the heavy metal and progressive rock community that I initially loved I don't listen to anymore. When you love something at first, you consume as much as you can, but once the taste becomes familiar, you begin to weed inferior options out. From a heavy metal perspective, Opeth still survived and as a heavy metal fan, their pre- Heritage material will always have a special place in my heart. But what about from a progressive rock standpoint? I gave this album a listening to again about a year later, and I realized how unfair I was towards it.

I deeply respect Mikael Akerfeldt as a musician, and I can sympathize with him that he was tired of doing heavy metal and wanted to do something different. His love of seventies music is seen all throughout the album and the death metal elements are fading away. There are barely any "death metal" guitars and no death growls. I know some are disappointed by that, but I've always been surprised of how beautiful Akerfeldt's normal singing voice is and that is the only voice used on this album.

Because of this, Pale Communion is Opeth's most accessible work, even though I know that in both the metal and prog communities, that might as well be the genre's red letter. But I feel like it works for Opeth's benefit here. Many people I have introduced Opeth to enjoy it to an extent until Akerfeldt's death growls come in, and while I believe he's one of the few that can actually do those growls very well, I can understand why people would be turned off by them. This album allows people who would normally be turned off by the extreme metal aspects of Opeth to see just how talented Akerfeldt and his team are.

Eternal Rains Will Come and Cusp of Eternity seem to be the two most popular songs on the album and for good reason. They both feature strong vocals, strong songwriting, and that perfect mixture of the heavy 70's prog and Opeth's unique style. However, there are two songs I feel the need to comment on. The first is Goblin, the album's instrumental and a direct reference to seventies music. It's catchy and ethereal, something that I have never seen Opeth produce. The second is the album's finale, Faith in Others, a simply beautiful song that sounds like the perfect marriage of their albums Damnation and Watershed, which really, is the style of the entire album. It reminded of the two immensely, especially the latter is it was cleaned up a bit.

While it's not a perfect album, I feel like I can in good conscience give it an essential rating. It is essential because it shows a well known musician exploring a different style and pulling it off well. The only other band I can think of in the past who pulled that off successfully was King Crimson with Discipline. Now speaking to those on the heavy metal side of the spectrum, yes, the old Opeth will be missed dearly, but judge the album on it's own merits and not on the band's past output. I say this because certain album's that I have dismissed outright I ended up enjoying based on their own quality and merits rather than what I thought the band should be or should do (Deep Purple's Purpendicular for example, but that's another story for another day).

Five stars easily. Stands side by side with Blackwater Park and Ghost Reveries as Opeth's best.

Opeth had strayed from the path of their progressive metal back in 2003 when they released Damnation, a companion release to the much heavier Deliverance. By Ghost Reveries they were back to the heavier stuff on probably their most progressive release so far with the usual mixture of clean vocals and death metal growls. In 2011 they released Heritage, like Damnation sung with entirely clean vocals and also their mellowest album since that release. Pale Communion is the second consecutive album to ditch the growls and this time it looks like there's no going back.

Pale Communion is the album that Heritage should have been. Not a weak album by any stretch but sounded a little fragmented at times, unsure where it wanted to go. Pale Communion is also heavier but more heavy rock than metal but also has a very retro 70's prog style which is fine in my book. Where it really shines though is in the quality of the songwriting, the first three tracks in particular are truly breath taking with Mikael Akerfeldt's strongest, most melodic and confident vocals yet. The arrangements and melodies of these songs in particular are so strong played with much light and shade and Moon Above, Sun Below has a particularly haunting vibe. The rest of the album barely drops the quality even if Goblin, a nod to the Italian prog band Goblin? is a little throwaway in comparison to the illustrious company its keeping here but fun nevertheless.

Most of Opeth's albums have still been heavy enough to keep their early death metal era fans happy but with the last two I'm sure they'll have lost a few as there's no metal elements left at all as well as ditching the growl vocals. However, they'll have no doubt gained many who found their more extreme elements hard to swallow. Personally I think they got the perfect balance on Watershed but Pale Communion is still one of their best albums and I'm happy to see them continue down this road in the future if that's where they're going. 4 1/2 stars.

I wasn't one of those people who knew of Opeth from Day One, after all death metal has never been my music of choice. I heard their name, often in collaboration with Steven Wilson, which was causing the group to go more progressive, but the death metal was still there. In 2011 I learned that their new release Heritage dropped the monster growls, and I took a chance on it. To my ears it has some nice stuff, but sounded like it needed room for improvement. For me, I am, like some people, find the growling vocals a bit hard to take them seriously (of course, many of the fans want those vocals). So it's little surprise those who felt alienated with Heritage will probably swear them off completely on Pale Communion. To be fair these efforts aren't too terribly different from Damnation, but then that was the "light" contrast with the "darkness" of the super-heavy Deliverance. I also have Damnation, mainly because it's more in tune with what they're doing now, despite being recorded during the very same sessions that brought you Deliverance (and released a few months after Deliverance). Apparently Mikael Åkerfeldt stated his growls have not improved so that's why he dropped them. Anyways, I am really delighted over Pale Communion. Make no doubt about it: they are now a heavy prog band. This album may still have heavy riffs, more more in tuned with heavy prog than death metal. Plus the album has its share of acoustic material, and even a wonderful orchestral piece (with Hatfield & the North and National Health's Dave Stewart conducting). "Eternal Rains Will Come" shows the group is totally at home with prog material, really like the nice keyboard work from newcomer Joakim Svalberg (Per Wiberg left following the released of Heritage,, hence the tree depicting one of the heads falling on the ground, that of Per Wiberg). Sampled Mellotron makes its presence felt on the album (Heritage did use a real Mellotron, an M600 that Per Wiberg was so happy to show on the Making of Hertage bonus DVD, included if you own the special edition CD of that album with the lenticular gimmick cover, but Pale Communion did feature the new keyboardist who hasn't yet had access to a real Mellotron). Also Hammond organ and MiniMoog Voyager is also used, showing how they're not afraid of prog. "Goblin" is in tribute of the famous Italian band of the same name, "Voice of Treason" has a rather Middle Eastern feel to it, while "Faith in Others" is a great closing piece, a moody orchestral number with help from Dave Stewart (as mentioned before).

As before, some long-time fans will be scratching their heads over this. Some felt betrayed by Åkerfeldt's clean guitar playing and vocal approach. I can only say, if they change, they better be good at the change, and that's what they deliver here. It's the change into a good heavy prog band, which I'm happy with. So if you enjoy heavy prog, I highly recommend this, even if you weren't exactly keen on the band in the past because the vocals or death metal approach.

It isn't as though this wasn't expected. Opeth had been steadily drifting away from their death metal roots for a good long while by this point, with 2003's Damnation avoiding it entirely, so it's hardly an enormous surprise that Pale Communion finds the residual metal thoroughly flushed out of Opeth's sound. In its place stands a hard-rocking tribute to the heavy psych roots of progressive music, which I'm sure is a subject that the band and Steven Wilson collectively have a whole bunch of insight into - and indeed, their take on the style is an effective update of it.

On previous listens, this (and much of Opeth's earlier back catalogue) left me a little cold; it took listening to their discography from the start for me to really get my head around where they are coming from and what they're trying to do. Now that I've readjusted my expectations of what Opeth are about, I can find a lot to like here; it's essentially a development of the approach of Heritage (right down to the Steven Wilson mix), and I think if you liked that you will enjoy this. I even think Mikael Åkerfeldt's clean vocals, which I've always felt were a bit of a weakness of the band's sound, has improved here compared to Heritage. Don't expect the sort of innovative prog-death metal mashup they did in their lean, hungry years, but do expect a prog album with lots of retro touches but cutting-edge modern production.

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: ***

Opeth's gradual but ultimately wholesale departure from death metal and into classic prog got off to a very shaky start with the controversial mixed bag that was the Watershed record and the outright baffling Heritage release. But on Pale Communion the band actually manages to get their footing. Here the band steers away from their characteristic complex song writing and arrangements and instead focuses on providing the backdrop for Mikael Åkerfeldt's truly moving and inspired rock vocal performance. When the instrumental elements are the main focus of a song or passage, listeners are treated to the subtle mastery of the Joakim Svalberg's keyboards. The album is colorful, balanced between folky and heavier sections, and has proven to broaden Opeth's appeal outside of metal.

Is Pale Communion the Best Opeth album? Well, i'm not too sure myself, but everytime I listen I can't help but think more and more that it is. The production is simply unbelievable. The Rhythm section on this album carries such a heavy punch at all times. It really feels like a extremely talented band playing together with plenty of breathing room, atmosphere, and raw energy. You can close your eyes and see vivid images based on the pure, dark proggy sound of this album. The opening track "Eternal Rains Will Come" is one of my all time favorite Opeth songs with its intense bombastic intro. Heavy organs and complex airy drums take us through this masterful display eventually leading into a softer stripped down section. There's just always so much going on to pick out at all times. I think this is the reason why it's been such a grower for me, it simply has so much replay value. The song develops into this flowing verse with beautiful mellotrons and guitar solos eventually bringing us to a headbanging ending. Cusp of Eternity is probably one of the more straightforward songs, but it has really great groove and generally evil sound to it. Topping this off in the later half is a really great, "jump on the couch and air guitar" solo. Moon Above Sun Below goes through several different sections and none of them have me looking at the clock waiting for the next one. There is a great contrast between heavy and soft which really reminds me of some of the older Opeth songs. The other thing I really like here is that the song isn't afraid to just strip down to near silence as it progresses. The first part of the song is what I consider to be the main "theme" of sorts with the actual "Moon Above Sun Below" chorus. The next acoustic section brings us into one of the most intense moments on the album. You hear that Pale Communion organ tone fade in and before you know it, the whole band is going full power. Things settle down for a bit bringing us into this real nasty doomy riff with these huge epic vocals layered on top. Elysian Woes is a great softer melodic song with these really crisp sounding guitars. I find with this song it's all about the atmosphere. Goblin is a super goovy, complex fusiony piece with a great attention to detail. The electric piano all over this song is brilliant, there's also this somewhat atonal guitar solo at the end I really dig. River, when I first heard this song I was really scratching my head. The first 3 minutes are the least Opeth sounding thing Opeth has ever made, but the ending absolutely knocked my socks off from first listen. Over time is became a highlight of the album for me. The ending is just 3 and a half minutes of pure intensity with these dueling guitars trading off these somewhat baroque esque lines. What really pushes it over the edge is the vocal performance at the end, it just hits. Voice of Treason is another highlight, its possibly the most detailed song on the album, but on top of that its just damn heavy. The chorus is super strong, but I love the jam that develops towards the middle bringing us into this real epic climax. The song does this really cool thing in the end just kinda fizzling out into this real minimalist electric piano and vocal conclusion. Faith in Others is the only song where I have a few gripes. The intro section is beautiful, but it is very reminiscent of King Crimsons "Starless." Really though, my main issue is that it kinda just abruptly stops for this softer piano section to take over that ultimately feels unnecessary. It is redeemed in the second half with this stunning display of pure beauty. The ending is just so emotional with such a feeling of dread and sorrow (which happens to also be one of Mikael Akerfeldts favorite words!) I really wish that that one piano section in the middle wasn't here though. It's really the only part of the album where I can say i'm not fully on board. Luckily it's redeemed with a worthy conclusion.

Pale Communion is an album I like more and more every time I listen to it. To the point where it might just be my favorite Opeth album with the likes of Ghost Reveries and Still Life by its side. It just has such a distinct sound and identity. I always wonder what the reaction would've been like if this was released after Watershed instead of Heritage. Today I give it a 9/10.

Not as good as Heritage and after giving it multiple listens its rating has lowered from four to two stars for me, it's way too mediocre compared to all the other prog rock you hear.

There's some great moments in this album like Moon Above, Sun Below's ending, River's middle solo section which is very fun, and Eternal Rains Will Come's beautiful chorus.

Unfortunately, that's everything about the album that I find to be good, the rest is either mediocre or just plain boring.

Cusp Of Eternity doesn't go anywhere with its five minutes and a half of run time. Elysian Woes is just a filler, uninspired ballad that yet again doesn't justify it's run-time. Goblin is just a waste of time, its four minutes long and it feels like eight, the guitar line just isn't anything special. Voice Of Treason is yet another song that goes nowhere despite being eight minutes long. Faith In Others has a nice and beautiful main verse but the song repeats itself too much (it's +8 minutes long! Ouch!

If you're an Opeth fan you will possibly find some enjoyment in this album. But c'mon, with all the prog rock you can hear, are you going to hear this? Because I seriously won't.

Pale Communion is probably the best Opeth album of the second era (their progressive rock era). Very consistent and with no weak tracks. Eternal Rains Will Come is an amazingly beautiful track with a wonderful chorus. Cusp Of Eternity has middle-east influences. Moon Above, Sun Below is one monster of a track! It has an amazing chorus and the ending is very beautiful. Goblin is a fun instrumental. Elysian Woes is kinda boring but still a nice break. River has an awesome instrumental section and a great beginning section. Voice Of Treason has a very suspenseful beginning, only to continue with a great chorus. Faith In Others has a beautiful main melody and closes the album very well. If you want to be introduced to Opeth's second era in the best way possible, you need to start with this one. Four Stars!

Despite having a prog-heart at its core, I have almost always preferred the classic Opeth era until 2008, originally because of its progressive metal leanings but later even more because of the ominous and serious atmosphere, riffing style and acoustic vs brutal contrasts. Opeth have opened several doors for me: death-metal and other progressive extreme metal such as Enslaved. In 2012, at the time of the "Pale Communion" release, my expectations were relatively low after the average "Heritage" album. This album marked the most evident stylistic permanent change but still kept enough roots into progressive metal. 3 years later, Opeth paved way to a much higher dose of symphonic/psychedelic and 70's retro progressive-rock ( around 1970-1973. The improvements over Heritage is improved songwriting, more streamlined output as if Akerfeldt felt now more comfortably to ask as a prog-rock musician. Having said that, it's also the Opeth album with the highest amount of cliches (borrowed from prog-rock/hard- rock) and their own recycling a la Watershed unless Sorceress. We have three categories of songs, I'll start with the one I plainly dislike - straightforward hard-rock anthems. It was "Slither" on "Heritage and it's "Cusp of eternity" here. They have a good melody and a likeable guitar solo but the songs as such are boring to me.

The second, most populous category, is represented by retro prog songs. Here, I can't stop the feeling that many such intensive moments are more self-indulgent than they are good. Examples are overly loaded riffs, not naturally busy drumming, compare it to a normal car that gets 6 wheels instead of 4. "Goblin" is an example of an elaborate instrumental which plays more than what is has to offer.

The third category are mellow moments where Akerfeldt's voice, now having its clean vocal improved from the past, really shines and there is suitable instrumentation. "Moon above, sun below", "Elysian woes" and "Faith in others" are good examples. These two songs also convey that Akerfeldt is a good songwriter in the classic sense, having sense of melody, motives and exquisite taste of chord sequence. If you listen to the final chord sequence at around 5:25 mark in "Faith in others", it feels like a fork entering your heart, a true beauty.

My verdict is mixed - Opeth doing prog is not as good and original as Opeth doing death/prog metal. I'm saying that as a seasoned progger who listened to hundreds of prog--rock/metal albums. For a casual prog listener, this could be a much more rewarding listen. Regardless of any of my criticisms, this is the best Opeth album of the 2010's followed by their 2019 output. I will give it 4 stars because there are still multiple moments of treasure and beauty to be found.