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OPETH

Tech/Extreme Prog Metal • Sweden


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Opeth biography
Founded in Stockholm, Sweden in 1990

Yes, some people would consider OPETH to be a pure (melodic) Death Metal band but you have to differentiate a lot. The four guys from Stockholm/Sweden feature a lot of different elements on their albums. We have the aggressive death metal with Mikael's growls (which are not generated with help of a computer, it's actually his voice) with lots of breaks, mostly acoustic including Mikael's clear voice. Mr. Åkerfeldt himself always underestimates his clear voice and often points out that he is a novice regarding this kind of singing. But that's not true, false modesty is the term here. His clear voice is warm and simply beautiful. The whole music is guitar orientated, on the one hand we have great riffing for aggressive parts, awesome melodic solos and on the other hand acoustic breaks with admirable melodies with some Scandinavian folk influences here and there and of course Mikael's clear vocals. Sometimes you even get some PINK FLOYD or PORCUPINE TREE like parts or whole songs.

⭐ Collaborators Top Prog Album of 2014 ⭐

⭐ Collaborators Top Prog Album of 2008 ⭐

Sure, the band started out as a pure Death Metal combo regarding to their first release" "Orchid" but from their second release on the prog elements got more and more. The second album "Morningrise" for example features a pure Prog song with PINK FLOYD like parts as well as epic song lengths. Mikael Åkerfeldt who also is the indispensable head of the band, often mentions that he is a proghead and mostly likes bands like CAMEL and PORCUPINE TREE. No doubt, you can hear those influences on albums like "Still Life" and "Blackwater Park" but their highlight regarding to pure Prog for sure is their 2003 release "Damnation" which features an entire album in the style of PORCUPINE TREE. Not really astonishing regarding the fact that Steven Wilson of PORCUPINE TREE is a good friend of Mikael and Peter and even worked together with the band for their double release "Damnation" and "Deliverance". Steven Wilson also produced their album "Blackwater Park" which is regarded as their best work so far, not only by death metal fans but also by many others normally disliking death metal growls (like me). "Damnation" for sure is the album most of...
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In Cauda Venenum (Swedish & English)  2CD, DigipakIn Cauda Venenum (Swedish & English) 2CD, Digipak
Nuclear Blast 2019
$15.98
DeliveranceDeliverance
Original recording
The End Records 2011
$3.43
$1.94 (used)
Ghost ReveriesGhost Reveries
HiFi Sound
Roadrunner Records 2005
$5.84
$6.80 (used)
DamnationDamnation
Sony Music Canada Inc. 2011
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Sorceress 2-disc deluxeSorceress 2-disc deluxe
Nuclear Blast America 2016
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Blackwater ParkBlackwater Park
The End Records 2010
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Still LifeStill Life
PEACEVILLE 2017
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$10.48 (used)
Garden of the Titans (Opeth Live at Red Rocks Amphitheatre)
Live,  2CD, Blu-Ray, DVDGarden of the Titans (Opeth Live at Red Rocks Amphitheatre) Live, 2CD, Blu-Ray, DVD
Nuclear Blast Entertainment 2018
$22.63
$24.99 (used)
My Arms Your HearseMy Arms Your Hearse
Candlelight (Icarus music) 2000
$13.87
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OrchidOrchid
CANDLELIGHT RECORDS 2015
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OPETH discography


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

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

3.28 | 646 ratings
Orchid
1995
3.72 | 730 ratings
Morningrise
1996
3.94 | 757 ratings
My Arms, Your Hearse
1998
4.30 | 1601 ratings
Still Life
1999
4.25 | 1659 ratings
Blackwater Park
2001
3.77 | 922 ratings
Deliverance
2002
3.98 | 1269 ratings
Damnation
2003
4.25 | 1552 ratings
Ghost Reveries
2005
3.98 | 1158 ratings
Watershed
2008
3.81 | 1228 ratings
Heritage
2011
4.15 | 1075 ratings
Pale Communion
2014
3.71 | 439 ratings
Sorceress
2016
4.20 | 5 ratings
In Cauda Venenum
2019

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

4.11 | 117 ratings
Lamentations: Live at Shepherd Bush Empire 2003
2006
4.08 | 204 ratings
The Roundhouse Tapes
2007
3.00 | 3 ratings
The Devil's Orchard (Live At Rock Hard Festival 2009)
2011
4.00 | 4 ratings
Lamentations Live At Shepherd's Bush Empire
2016
4.19 | 24 ratings
Garden of the Titans: Live at Red Rocks Amphitheatre
2018

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

4.03 | 221 ratings
Lamentations: Live at Shepherd's Bush
2003
4.10 | 154 ratings
The Roundhouse Tapes
2008
4.64 | 240 ratings
In Live Concert At The Royal Albert Hall
2010
4.25 | 20 ratings
Live at Enmore Theatre Sidney Australia
2011

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

4.56 | 44 ratings
Limited Edition Box Set
2006
3.99 | 67 ratings
The Candlelight Years
2008
4.00 | 3 ratings
The Wooden Box
2009
2.50 | 2 ratings
The Collection
2014
4.20 | 5 ratings
Deliverance & Damnation
2015

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

4.13 | 23 ratings
Apostle in Triumph
1994
4.52 | 46 ratings
The Drapery Falls
2001
4.09 | 34 ratings
Deliverance
2002
4.65 | 48 ratings
Still Day Beneath the Sun 7''
2003
3.15 | 27 ratings
Selections From Ghost Reveries
2005
3.31 | 42 ratings
The Grand Conjuration
2005
4.75 | 4 ratings
Ghost of Perdition
2006
3.02 | 24 ratings
Watershed - Radio Sampler
2008
3.69 | 46 ratings
Porcelain Heart
2008
3.61 | 51 ratings
Mellotron Heart
2008
3.84 | 64 ratings
Burden
2008
4.00 | 3 ratings
Dirge for November - Live
2010
3.50 | 4 ratings
Slither
2011
3.48 | 72 ratings
The Throat of Winter
2011
3.68 | 89 ratings
The Devil's Orchard
2011
3.88 | 8 ratings
Cusp of Eternity
2014
3.41 | 17 ratings
Sorceress
2016
2.78 | 9 ratings
Will o the Wisp
2016
3.00 | 10 ratings
The Wilde Flowers
2016
3.50 | 2 ratings
Book of Opeth
2016
3.50 | 2 ratings
Ghost of Perdition (Live)
2018
4.29 | 7 ratings
Hjärtat Vet Vad Handen Gör / Heart In Hand
2019

OPETH Reviews


Showing last 10 reviews only
 Orchid by OPETH album cover Studio Album, 1995
3.28 | 646 ratings

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Orchid
Opeth Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars When it comes to progressive extreme metal, no story would be complete without a reference to Sweden's OPETH, a band that started out as just another pioneering death metal band from the Swedish underground but would soon blossom into one of the most unique metal bands of any genre. While long associated with Mikael Åkerfeldt who has been the only member to appear on every single OPETH release, the band was actually formed in 1989 by the original vocalist David Isberg who after finding a lineup would soon solicit band membership from former Eruption band member Åkerfeldt. For whatever reason the other band members rejected this decision and soon departed and the pair were left together to start anew.

Interestingly the band name came form the word "Opet" which was taken form the Wilbur Smith novel "The Sunbird" and is the name of a fictional Phoenician city in South Africa which translated into "City Of The Moon." After a ridiculous amount of personnel changes, the whole thing became too much for founder Isberg who left the band in 1992 which allowed Åkerfeldt to take control of the project and the rest is history. After the tumultuous start Åkerfeldt took the bull by the horns and recruited the new lineup of guitarist Peter Lindgren, percussionist / pianist Anders Nordin and bassist Johan De Faralla. OPETH was quite lucky in the fact that they circumvented the whole demo thing after Lee Barrett of Candlelight Records offered to sign the band with a mere exposure to a rehearsal.

OPETH were also fortunate to have tutelage of the metal veteran Dan Swanö who participated in not only the production and engineering but also provided the necessary funding and mentoring of what he deemed a promising talent emerging. While 1994 was spent developing the band's sound and recording the debut ORCHID, the album finally emerged in May 1995 to mixed reviews. Riding the initial explosive underground growth of both the death and black metal scenes as well as the progressive rock revival of the early 90s, OPETH was one of the most audacious bands to emerge in the mid-90s with roots in all of the above and delivered an epic progressive death metal sound well beyond the scope of other extreme metal contemporaries. ORCHID was both bellicosely brutal as well as tenderly melodically beautiful.

Unlike the following OPETH releases, ORCHID is a far more diverse album that introduced the reverie of classic 70s progressive rock wrapped up in blackened death metal clothing that allowed complex epic length tracks to unfold on ever-changing journeys that embarked on heavy death metal riffing, folk music, subdued acoustic classically inspired guitar parts and piano parts along with death metal growls, black metal shrieks and even clean melodic vocals. The mood is one of complete depressive annihilation with pummeling distortion and frenetic vocal insanity to sublime twin guitar sweeping melodies that evoke calmness, placidity and the light of eternal hope. This rollercoaster ride is a true metal mood swing as the alternating dynamics sound as bipolar a concert that would feature Morbid Angel playing with Simon & Garfunkel.

ORCHID is the test of perseverance and patience as the original album clocks in close to 66 minutes and most later releases contain the early underproduced demo "Into The Frost Of Winter" as a bonus track. The inclusion as a bonus was a wise move as it demonstrates how quickly the band had grown from a brutal raw black / death metal band to the sheer sophisticated prowess of this debut studio album where five of the seven tracks exceed eleven minutes, one is close to ten and the only two short tracks are the acoustic interludes of "Silhouette" and "Requiem." Åkerfeldt was obsessed with the occult during these years and likewise the lyrics are dark and twisted about Satanism and evil and likewise the downtuned guitars and overall sound was created to accompany the gloominess of the underworld.

In many ways ORCHID encapsulates the entire career of what OPETH would become on the more successful following albums. The brutal death prog that mixed extreme metal and 70s progressive rock was already fully developed as were the myriad ingredients of heaviness with folk, classical and even jazzy extra touches. While i may be in the minority, i truly find ORCHID to be the most captivating album of OPETH's entire discography as it embraces a wider spectrum of sounds that would be jettisoned for the more streamlined albums to come. One of my biggest complaints about the majority of OPETH albums is that the percussion is tamped down to simply keep the beat of the compositional flow. Not so on ORCHID where fully fueled bombast is allowed off the leash as much as it is tamed into submission.

Likewise this is the album that is allowed to express the most extreme examples of death metal with faster tempos, blastbeats and absolute fury delivered in Åkerfeldt's unique vocal style. While many may find this one a bit too long for its own good, i find the opposite true as it more than any other OPETH album has enough changes in the tempos, dynamics, intensity and stylistic shifts that allow the melodies to exhibit extreme beauty and the bombast to pummel the senses. Even within the greater OPETH canon, ORCHID is utterly unique and single-handedly launched a completely new strain of death prog just at the time when bands like Dream Theater and Anglagard were reviving the progressive rock scene from its lengthy slumber. Yes, i stand in a lonely room but ORCHID is the epitome of what i consider the perfect OPETH sound and there is not one track that doesn't shine as brilliantly a supernova in the heavens above. A woefully underrated masterpiece to my ears.

 My Arms, Your Hearse by OPETH album cover Studio Album, 1998
3.94 | 757 ratings

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My Arms, Your Hearse
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

4 stars With each album until My Arms, Your Hearse, Opeth made a giant progress taking contemporary influences and own dose of originality into the mixture of brutal death metal and clean acoustic driven music.

My Arms, Your Hearse is a departure from the black metal-influenced "Morningrise" and classic death-metal first record. The triumph of progressive rock/metal is starting to manifest itself by unusual song compositions, challenging instrumentation, concept themes and startling ideas. At the same time, MAYH is one of the darkest Opeth albums (well, there has not been an optimistic one until now ;-)), very heavy and ominous textures including lyrics. For me, listening to MYAH and realising its potential paved the way to further death metal and black metal explorations on my side - it opened my eyes.

Drums and bass guitar are very present on this release - the change of the drummer was a clever move resulting in sophisticated and varied patterns while paying a nod to current progressive metal trends. Keyboards are almost non- existing except organ in the beginning and the end and occassional piano shy playing. Guitars are well present, especially heavy and bleak original riffs that only Opeth can craft. Guitar solos are solid, too. However, it is the vocals, guitar riffs and drums that draw the most of my attention I listened to this album in winter while walking on the snowy roads with my big headphones. This album has simply one of the top notch death metal vocals, which positions the record even darker. Deep growling, typical for death metal is sometimes echoed, sometimes multiplied and Akerfeldt explores diverse possibilities with his growls. Listen to the ominous deep growls in the beginning of "Demon of the fall" - that is pure and timeless darkness.

The easy intro leads to energetic and aggressive "April Ethereal" featuring propulsive drumming where the new drummer positions himself in a positive light. Bleak growls chords don't give an optimistic twist either. A delicate acoustic passage followed by progressive metal intermezzo still results into a familiar death-metal territory with incredible vocal performance. "When" starts mellow but turns into a wild beast - any unfamiliar listener might be shocked by the sudden turn of the mood. "When" is a prime example of a typical chord structure of an Opeth song oscillating between Major and Minor. Similar to "April Ethereal", short soft sections are quickly flooded by heavy death-metal driven parts. Remarkable are last 4 minutes recorded in a more relaxed way with clean vocals. "Madrigal" is a forgettable interlude to one of the best tracks on the album, "Amen Corner", which I consider superior to "Demon of the fall".

The slow and repetitive dark riff is replaced by dark echoed growl. Finally at 1:40, the track starts its constant development without having a traditional verse-chorus structure. A delicate acoustic guitar duet can be heard before a doom/death metal part, followed again by a suprising accessible metal clean vocal music. When you think that the evil times are over and enjoy the guitar soloing, at 6:37 the storm rages on again - brutal death metal growls multiplied by intensive drumming. Especially the scream at 7:00 is chilling; it leaves frost enter your body. The intensity and heaviness carries on until 30 seconds before the end, then it leaves space for a relaxing outro.

"Demon of the fall" might be the best known track out of this album and for a good reason - performed often at concerts in acoustic or original format; featuring trademark growls, heavy riffs and indeed also a memorable melody with a hint of optimism. The multiplied death metal vocal in the beginning is extremely powerful and sinister; this song is first and foremost a death metal vocal showcase and an inspiration to other death metal vocalists. The ethereal soft acoustic guitar part is a balsam for the soul. Clean vocals that can be heard until the end do not surpass the death metal vocals - at this point of career, Akerfeld was a better growler and clean vocalist - which would change in the future.

"Credence" is the only longer acoustic track on the album, not very memorable, though. Drum fills and rhythm changes are the most interesting for me here. The track could have been shorter for what it offers; indeed, it does not fit great to the remaining tracks.

"Karma" rushes listener to come back to the sinister dark mood. Death metal starts off until an Akerfeld ingenious harmony vocal at 1:00 divides it into a slower but still equally dark part. Worth mentioning is a mellow part of the song roughly between 3:00-5:00 before reaching the climax. Sinister riffs intensify the tension until 6:30 when the band return to classic death metal with extremely effective and extended and multitrack growling that takes the listener to a bleak dark forest.

"Epilogue" is a pleasant instrumental and introspective track to bring the listener away from the dark tunnel into a more harmonic world.

My Arms Your Hears is Opeth's contribution to the testament of progressive dark death metal - they led the wave at the time.

 Ghost Reveries by OPETH album cover Studio Album, 2005
4.25 | 1552 ratings

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Ghost Reveries
Opeth Tech/Extreme Prog Metal

Review by ale73

5 stars Opeth are one of my favorite bands ever and I love every different shade of their music. Now they are considered as a complete prog entity, while in the past they were liked mostly by metal listeners. But they have always had a prog edge, from the beginning. And 'Ghost Reveries' was really prog oriented! I remember that they released a video for the song 'The grand conjuration' at that time; it was very raw and they said the director did not understand them, as they were not exactly a metal band. This is explicative of them: they use many languages but they are not caged in anyone. In this album Mikael's voice is at its top, both when it is clean and growling. Not even to say that his guitar ability is breathtaking; in some of the songs here there is an intricacy combined with an intensity that I have never seen in none else. What I love as well in this album is the almost 'jazzy' touch of Martin Lopez on the drums. Furthermore the songs are perfectly produced, and the sound is always poferwul and crystalline at the same time. But as far as I am concerned the real plus of 'Ghost reveries' is Per Wiberg's keyboards (piano, mellotron, moog, hammond): it gives to the songs a psychedelic sound that makes them unique. It is like a touch of 70's in a death metal framework: I think none else did anything similar. I saw them live during the tour and I amazed by this aspect of their music. Coming to the songs: 'Ghost of perdition' is simply one of their best songs ever. Even now, after many years, it is always in their setlist. It is like a rollercoaster of lights and shadows, condensing centuries of music in ten minutes. 'The baying of the hounds' is again an intricate succession of very heavy and very soft parts. Riffing is devastating! 'Beneath the mire' is another great piece of music. In this case what shocks me is a mellotron giving something like a Middle Eastern flavor. 'Atonement'is a really melodic song, mostly instrumental. Very sweet and silken, like a deep breath of fresh air. 'Reverie'Harlequin forest' is the track more reminiscent to 'Blackwater park'. 'Hours of wealth' is again a very soft and mainly based on a tapestry of keyboards and the acoustic guitar. It shows how awesomely evocative Mikael's voice can be. 'The grand conjuration' is the most conventionally Opeth song. 'Isolation years' is the last song of the album and the shorter as well. It is melanchonic with its intertwinement of soft guitar and mellotron.

'Ghost reveries' is Opeth at their finest.

 Blackwater Park by OPETH album cover Studio Album, 2001
4.25 | 1659 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

5 stars Blackwater park is one of the strongest metal releases of 2001 and a landmark of early 2000's metal.

Opeth were are creative peak years, pushing forward with each release. However it was with Blackwater park, that their leaps have increased.

The production is crystal, matched to progressive music and marks a successful collaboration with Steven Wilson.

Blackwater Park offers strong experience for fans of progressive metal, death metal, atmospheric metal and possibly also progressive rock.

The album starts strongly and brutally with "Leper Affinity" that shifts from ominous growls and death metal bass drums to more conventional progressive metal and even atmospheric piano outro in the end.

The songs is filled with darkness but also poignant singing of Mikael.

"Bleak" is, despite its name, less bleak than the first song and it is partly inspired by middle East chords. One of consistently played live tracks from this album. There are very progressive rhythm changes to be found there.

"Harvest" is a mellow catchy song and the only sung in a completely clean vocal. It predates songs from the Damnation album.

"The drapery falls" shows a perfect sense for graduation. Imagine a slow stream of water getting larger and faster to become a wild water that flows and some point starts calming again to enter the sea.

Acoustic guitars play the intro and repeat a sorrowful melody that comes into play in the end, too. The music progresses to the progressive death metal-influenced middle part. This is one of the most accessible songs on the album.

"Dirge for November" is yet another bleak song although the beginning seems to come from a quiet acoustic dream sung by warm voice. The instrumental fill allows drums, bass and guitars to lay ground for more ominous music that features pure evil sequence of chors

and brutal growling. A devastating track, possibly about suicide, leaves one feel like being in a dark forest during a storm. The acoustic outro is very effective in that it evokes the contemplative mood sounding like funeral music.

"A funeral portrait" is, in comparison, to the two previous sister tracks, a more upbeat nod to progressive death metal characterised by some of the most brutal growling on the record, that becomes hellish at 1:16.

The vocal pattern from the Karma track on 1998's My arms your hearse is repeated here with multiple passionate and evil growls. Solid guitar solos with great drumming follow.

"Patterns in the ivy" is not a memorable but acoustically pleasant short intermezzo before the main meal of the day is served "Blackwater park".

This colossal epic track, aware of its length, starts developing slowly, taking its time.

Vocals are almost completely absent in the first half and the riffs are repetitive so the track's atmosphere can be rapidly remembered.

The first highlight of the track is the lengthy well developed acoustic-electric guitar part. It showcases Opeth's masterful and confident work with mellow music, which is not common among progressive/death metal bands.

Death metal sneakes in again and stays as a guest until the end of the composition. Multiple varations on growling and powerful progressive riffs are on display. The track is slowly getting to its peak right before its end.

The vocal and music performance is breathtaking and inspirational to many younger musicians. Death metal vocals heard on that track are phenomenal and hard to recreate during the live performance, even though this track was often performed in the end of concerts where vocals could go crazy.

Every 20 seconds, at the longest, there is a change in the rhythm, motive or melody, and I strongly recommend you to liste to this masterpiece multiple times.

Opeth have set a new defining moment in the metal music with their Blackwater park.

 Blackwater Park by OPETH album cover Studio Album, 2001
4.25 | 1659 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by TCat
Collaborator Eclectic Team

4 stars 'Blackwater Park', released in February of 2001, was the 5th album released by Opeth. Even though it didn't sell well in the beginning, it is recognized as the album that 'broke the ice' for the band in gaining a bigger fan base. It also marked the beginning of a change where the vocals started to not just be dirty, growly vocals, but also clean vocals, all sung by Mikael Akerfeldt. Why he hid his clean vocals for so long is anyone's guess, because he has an excellent voice, but that style of vocal was the norm for black metal bands from Sweden. Even though the music was always complex and well composed, the music also started taking the path towards becoming more and more progressive.

A lot of potential fans were turned off by the growling vocals, but found the music to have a lot of depth. The move away from the black metal sound started to attract new listeners, plus the fact that this album would be the first time the band would work with Steven Wilson, thus bringing attention to Opeth from Wilson's fans. Wilson worked as producer and did some of the clean vocals and guitar parts of this album, plus he would also make contributions by playing additional guitar parts, keyboards and mellotron, and some of the clean and backing vocals for the tracks 'Bleak', 'Harvest', 'The Funeral Portrait' and 'The Drapery Falls'. As we also know, this lead to an ongoing creative partnership between Wilson and Akerfeldt in various projects including 'Storm Corrosion'.

The first track 'The Leper Affinity' starts things off strong and heavy, with some excellent riffs and changing meters and melodies. The vocals are dirty for the first 4 minutes. After this, things mellow down for a minute for the bridge and clean vocals, but this doesn't last long as it goes into a heavy interlude with dirty vocals returning eventually. The topic is a relationship that has become strained over the years and the narrator has become abusive creating a beast of himself increasing the threat of losing the one he loves who keeps him in touch with sanity. The last minute ends on a surprise piano solo.

'Bleak' is about a man who catches his lover cheating on him, who he murders and dumps the body into a lake. Wow, that's uplifting (cough). This one begins heavy with dirty vocals again, but it has a more melodic chorus. With the intensity remaining after 3 minutes, we get Wilson's clean vocals and Akerfeldt doing supporting vocals. At 4:30, there is an acoustic guitar solo with an e-bow being used on an electric guitar in the background. This changes after a minute, and the acoustic takes support while a nice melodic guitar solo plays, then Akerfeldt sings clean vocals. Then a louder solo takes over. You can hear the layers with the piano still in it, and that is an indication of Wilson's amazing production where you can hear every instrument in the mix. After this, interchanging vocals continue.

'Harvest' is more of an acoustic ballad with electric guitar providing a nice melody. The song is about a man during his last minutes of life wishing for someone to be by his side. Akerfeldt sings clean vocals with Wilson backing him up. The chord changes are somewhat complex and the melody is quite memorable, but it isn't necessarily typical. Very nice track which remains on the softer side, yet is still quite dark.

'The Drapery Falls' is one of my favorite early progressive tracks by Opeth. It alternates between heavy and quiet throughout, but remains dark and ominous. Akerfeldt starts out singing clean, but processed, vocals. This track was released as a single cut down to 5:05 for radio airplay, but the full version stretches past 10 minutes. There are nice acoustic sections backed up by e-bowed guitars again. There are also louder instruemental sections. Dirty vocals start after 5 minutes and everything becomes a lot heavier, more progressive and less melodic. The track is about a man that has become addicted to depression and pleads for it to return so that he can be on familiar ground. There is sudden change back to acoustic and clean vocals at 7:30 and in this section, there are sudden bursts of energy scattered throughout, then a nice, heavy melodic instrumental section.

'Dirge for November' starts with Akerfeldt's clean vocals immediately with a track that starts much like King Crimson's 'Book of Saturday' with a complex, acoustic melody, but after a minute, loudness kicks in. This one seems to be about a lone survivor in an apocalyptic world wishing for his death over being alone, so he commits suicide. Again we alternate clean and dirty vocals as intensity changes. It remains heavy until 5:30, where it goes into a soft guitar solo after the lyrics are done.

Starting out with a guitar playing an arpeggio somewhat similar to 'Dogs' by Pink Floyd, it soon kicks into high gear when all the instruments kick in with Akerfeldt's dirty vocals. This one is more like Opeth's older songs as it stays quite loud and dirty most of the way through, but has plenty of great instrumental interludes and riffs between the verses. This one is not one of my favorites as it ass too much growling through it, but around 7 minutes in, there is some interesting harmony between Akerfeldt and Wilson.

'Patterns in the Ivy' is a short acoustic guitar instrumental interlude with some backing piano. It's nice after the heaviness of the preceding track.

Last of all is the 12 minute title track 'Blackwater Park'. It tells the story of a village that is heading to destruction because of the corruption, violence and immorality of it's citizens and hints as to how this can bring about the fall of humans. This one is a great progressive track with tricky meters and changing thematic instrumentals. After some dirty vocals, there is a sudden soft interlude early on. This goes on for a few minutes until the intensity kicks back in, and growling starts again around 5:30. This stays heavy pretty much to the ending which fades on an acoustic guitar.

There are two bonus tracks that were added to the Legacy reissue released in 2010. The first one was a single called 'Still Day Beneath the Sun'. This is a nice acoustic ballad with Akerfeldt's clean vocals. The other bonus track is 'Patterns in the Ivy II'. It is a continuation of the acoustic track on the original album, but it has vocals and is extended to over 4 minutes. It remains mostly acoustic with other backing guitars and effects and is a fully developed song in this instance.

So, this is quite an amazing album, with a lot of ingenuity, dynamcs and progressive elements, but the only thing keeping it from being a 5 star album in my opinion, is the amount of dirty growling vocals. I love the heaviness, that's not the problem, I just can't handle the growls and screams in this one, and it detracts from just how great this album is. I can easily say it's worth 4.5 stars but the growling rounds it down to 4. It does show, however, Opeth's continued path to excellence, and is definitely one that should be listened to regardless.

 Garden of the Titans: Live at Red Rocks Amphitheatre by OPETH album cover Live, 2018
4.19 | 24 ratings

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Garden of the Titans: Live at Red Rocks Amphitheatre
Opeth Tech/Extreme Prog Metal

Review by rdtprog
Special Collaborator Heavy / RPI / Symphonic Prog Team

4 stars This new live release is the fourth for the band ad this time it was shot in a windy and cold evening at the Red Rocks Colorado. It is very cool to see the band playing in nature while you can see also in the back the city! The band played various songs from their 2 sides: the death metal vocals and the clean vocals. But this is not telling much about the quality of their music and the way they built their songs. The strength of the band has always been how they can go from a fast pace tempo with very heavy guitars to a slower pace acoustic parts in a way that only Opeth can do. So, even in their most death oriented songs, there is still room for some good old prog, you can hear some Landberk guitar influence. If the band has stopped to do death metal albums this is not because they are now playing folk music!

The picture and sound are excellent on this show and visually they give us something more enjoyable than previous DVDs with plenty of projections in the back in a giant screen. I like the editing of all the camera shots with some up and distant shots mix with the close shots. To me, it was a nice decision to keep the awkward moment where there was no sound coming from Mikael's guitar before a technician came on stage to fix everything. Sadly, I was a bit disappointed that the show length was only 90 minutes.

 Watershed by OPETH album cover Studio Album, 2008
3.98 | 1158 ratings

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Watershed
Opeth Tech/Extreme Prog Metal

Review by TCat
Collaborator Eclectic Team

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

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

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

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

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

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

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

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

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

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

 Sorceress by OPETH album cover Studio Album, 2016
3.71 | 439 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by The Crow
Prog Reviewer

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

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

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

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

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

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

My rating: **

 Sorceress by OPETH album cover Studio Album, 2016
3.71 | 439 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by raigor

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

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

 Blackwater Park by OPETH album cover Studio Album, 2001
4.25 | 1659 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by ale73

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

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

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

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

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

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

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