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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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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 | 661 ratings
Orchid
1995
3.72 | 752 ratings
Morningrise
1996
3.94 | 778 ratings
My Arms, Your Hearse
1998
4.30 | 1652 ratings
Still Life
1999
4.25 | 1722 ratings
Blackwater Park
2001
3.78 | 951 ratings
Deliverance
2002
3.98 | 1312 ratings
Damnation
2003
4.26 | 1609 ratings
Ghost Reveries
2005
3.99 | 1190 ratings
Watershed
2008
3.81 | 1265 ratings
Heritage
2011
4.16 | 1127 ratings
Pale Communion
2014
3.71 | 477 ratings
Sorceress
2016
4.15 | 332 ratings
In Cauda Venenum
2019

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

4.12 | 122 ratings
Lamentations: Live at Shepherd Bush Empire 2003
2006
4.09 | 209 ratings
The Roundhouse Tapes
2007
3.40 | 5 ratings
The Devil's Orchard (Live At Rock Hard Festival 2009)
2011
4.25 | 8 ratings
Lamentations Live At Shepherd's Bush Empire
2016
4.28 | 31 ratings
Garden of the Titans: Live at Red Rocks Amphitheatre
2018

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

4.03 | 223 ratings
Lamentations: Live at Shepherd's Bush
2003
4.10 | 157 ratings
The Roundhouse Tapes
2008
4.64 | 246 ratings
In Live Concert At The Royal Albert Hall
2010
4.29 | 21 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
4.25 | 4 ratings
The Wooden Box
2009
2.50 | 2 ratings
The Collection
2014
4.44 | 9 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
4.53 | 47 ratings
The Drapery Falls
2001
4.11 | 35 ratings
Deliverance
2002
4.63 | 49 ratings
Still Day Beneath the Sun 7''
2003
3.15 | 27 ratings
Selections From Ghost Reveries
2005
3.33 | 43 ratings
The Grand Conjuration
2005
4.88 | 8 ratings
Ghost of Perdition
2006
3.02 | 24 ratings
Watershed - Radio Sampler
2008
3.70 | 47 ratings
Porcelain Heart
2008
3.61 | 51 ratings
Mellotron Heart
2008
3.85 | 65 ratings
Burden
2008
4.00 | 3 ratings
Dirge for November - Live
2010
2.83 | 6 ratings
Slither
2011
3.49 | 73 ratings
The Throat of Winter
2011
3.68 | 91 ratings
The Devil's Orchard
2011
3.90 | 10 ratings
Cusp of Eternity
2014
3.32 | 19 ratings
Sorceress
2016
2.92 | 12 ratings
Will o the Wisp
2016
3.00 | 12 ratings
The Wilde Flowers
2016
3.50 | 2 ratings
Book of Opeth
2016
3.27 | 6 ratings
Live in Plovdiv (split with Enslaved)
2017
4.00 | 4 ratings
Ghost of Perdition (Live)
2018
3.85 | 13 ratings
Hjärtat Vet Vad Handen Gör / Heart In Hand
2019
4.00 | 11 ratings
Svekets Prins
2019

OPETH Reviews


Showing last 10 reviews only
 Heritage by OPETH album cover Studio Album, 2011
3.81 | 1265 ratings

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Heritage
Opeth Tech/Extreme Prog Metal

Review by Zoltanxvamos

4 stars This was the beginning of a new era for Opeth, a turn from Prog Death Metal to Prog Rock. This is very similar to The Raven That Refuse To Sing, only about 2 years earlier. The musicianship and writing is really well done, Mikael Åkerfeldt did quite the job with the rest of the band. This really sounds like an attempt at writing both Steven Wilson's The Raven and Wobbler's Hinterland, although it has some classic Opeth Metal tones here and there. The songs are all wonderfully written, the title track is a very Romantic era classical piece, The Devil's Orchard is very much like The Raven again, it's very melodic and dark with a Steven Wilson undertone. The flamenco style nylon opening to I Felt The Dark continues to a dark spot, very similar to some material on Damnation, and then the even dark and heavy sections are also great and well done on this song. Slither reminded me of the heavier section of Bonnie The Cat off The Incident by Porcupine Tree. Nepenthe is a very soft and warm song for sure, it has it's very calm and down moments, and then it's slightly busier sections. The harpsichord played on this song is actually really well done and just adds to the texture and tone of the song. Häxprocess is a quirky piece, with the soft and more busy parts. Rhodes and Mellotrons, these keyboards improve the texture of the song overall. Famine is quite the busy piece on this album, it's one of longer songs on the album with a bit of an inconsistent structure. The keys are loud and blaring, this song fits on the album incredibly well, enough said. The Lines In My Head is a bit more of a heavy piece, it's a shorter song with a darker hook (I like to refer to all of the songs here as dark, but it's true, this is quite a dark album). Folklore, is a very melodic song, one of the better melodic pieces on the album, it's long and busy. The mostly instrumental song is very well written, with some very interesting hooks. Of course we reach Marrow Of The Earth, which is the final melodic song on this album. It settles this rather inconsistent album with a soft and warm song. I have been a fan of this album for a while and I absolutely give Opeth credit for successfully turning from Prog Death Metal to Prog Rock, congrats to the band but there was better to come.
 Live in Plovdiv (split with Enslaved) by OPETH album cover Singles/EPs/Fan Club/Promo, 2017
3.27 | 6 ratings

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Live in Plovdiv (split with Enslaved)
Opeth Tech/Extreme Prog Metal

Review by Corcoranw687

3 stars This is one of the most curious releases on this entire website, to me at least. In 2015 one of the most beloved bands in the prog world performed 8 songs with an orchestra, only once. Most fans of the band have heard three songs from this set included in the Sorceress deluxe edition(none of which are included here), but as soon as I heard those I knew I had to have the rest. It was so hard to track down, only being included in an edition of a magazine, and I sort of just gave up. One day I just happened upon this entry in progarchives, 4 ratings no reviews, one of the best bands currently going performing with a symphony orchestra, showcasing five of their best songs in a new and interesting light... oh and then the opening track from Enslaved's album E closes the disc...? What on earth is this madness? Why did I not find these performances until recently? Should I have to hide the fact that I only heard them as a result of a YouTube playlist because finding a physical copy appears to be impossible? Seriously, I typed "Opeth live Plovdiv purchase" into google and only found said playlist, songs having 3 comments at most with people saying "why have I never heard this before?". I feel like I am venturing into something I shouldn't be, why on earth isn't this talked about and listened to all the time? Was Mikael unhappy with the result? Was this filmed, the orchestra part or even the full concert? So many questions. This release gets 3.75 stars from me, if we had the full concert it would likely be higher but as a release this is incomplete and weird. There must be more to this story

Eternal Rains Will Come is the opening song of the concert and it's a good choice for this setting. First things that are noticeable are the large horn section and we apparently have a choir as well! This was a brilliant choice, they are used in clever fashion during Demon of the Fall but otherwise this is your typical unlistenable live performance of this song. It's a lot of fun live but Mikael's vocals during this song do not work anymore. The Devil's Orchard is the best interpretation of this bunch, you really feel the choir during the chorus and the horn section really owns the bass-dominated part around 4:50, a very thoughtful interpretation. The Grand Conjuration is a monster of a song but the orchestra sort of takes a backseat during this one, popping up to add a flourish now and then but generally not intruding as much as the previous song where they completely transformed it. Deliverance is great as always, a lot of focus on the choir which was a surprise to me. Hearing them vocalize some of the riffs in this song is entertaining as they struggle to keep time. Everybody also kinda vanishes halfway through the song, and by the ending riff(where you would expect the orchestra to add to the epic finale) there are no traces of them. Odd. Oh, and we conclude this release with Enslaved's brilliant song Storm Son, which is not even the best part of E, definitely check that out if you haven't. Regardless, even though I can see a complete crossover of fanbases, it's just strange to end an Opeth concert with an Enslaved single, isn't it? Odd. This whole thing's odd.

 Pale Communion by OPETH album cover Studio Album, 2014
4.16 | 1127 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by dougmcauliffe

5 stars 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.

 Heritage by OPETH album cover Studio Album, 2011
3.81 | 1265 ratings

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Heritage
Opeth Tech/Extreme Prog Metal

Review by dougmcauliffe

3 stars I don't think Heritage is a bad album, but it is perhaps a confused one at times. Opeth took a very bold move on this record fully committing to a sort of folky prog rock sound after their final progressive death metal album Watershed. The result is a bit mixed, but I very much respect their artistic integrity. With Heritage it's all about the atmosphere, many of the songs have very quiet/minimalist sections that pay off with darker heavier riffs. The keys and acoustic guitars on this album are wonderful and are really create the "sound" of this album. On top of this, the drumming is wonderful, its very light and jazzy. In general, I think the drums are much more developed and interesting then they were on watershed (and I think they get even better on the next album).

The album starts and ends with these two atmospheric acoustic tracks. I'm really not a fan of bands doing this as I think it tends to add nothing to the album. I always prefer when the opening song just starts with this atmospheric buildup and pays off with an actual song (The Moor for example). The real album starts with the devils orchard which I think is a very strong track with some great riffs and several really nice sections. The middle section exemplifies these awesome quiet parts with very subtle instrumentation. The next track is my favorite on the album: I Feel the Dark. The song builds this fantastic atmosphere for the first few minutes which is rewarded with this nasty dark, heavy, doomy mellotron/guitar riff about halfway through which continues to develop into a somewhat chaotic jam. The next track is the first misstep in my opinion. "Slither" is a tribute to Dio who had recently passed away and besides the ending, it's a pretty straightforward hard rock song that ultimately feels out of place after the wonderfully complex tracks that proceed it. Besides feeling out of place, I just don't think its a very strong song. It's redeemed in the next track "Nepenthe" which is also a favorite of mine. The first minutes are very subtle and jazzy, this really cool electric piano riff starts to fade in and it segues us into a really great full band jam and guitar solo. The song kinda winds down into this really neat ethereal sounding mellotron ending. Haxprocess is another favorite, it's a very delicate song with soft, lush instrumentation that develops into a really strong acoustic/mellotron song. This is another song that doesn't really have a big ending but rather just kinda fizzles out. That may be offputting to some, but it doesn't bother me personally. After this song, the album kinda dips in my opinion. Famine is just a bit of a confused song and kind of has too much going on at times. The intro starts to develop into this thing with tribal sounding percussion, but it just ends up abruptly stopping and not going anywhere as this minimalist verse takes over. This sort of happens again with this verse as it kind of just stops as a somewhat awkward guitar riff fades in. This issue is repeated and in turn the song feels very touch-and-go. The song climaxs with the doomy guitar riff overlayed with flute playing, if I'm being honest though, I think they miss the mark here in what could have been a really great section. I think if the flute was turned up in the mix and the playing was a little more interesting they would have something really cool here. The next track "The Lines in My Hand" has some great bass and drum work, but overall I think it's a sort of insignificant song on the album. It's another more straightforward rock song like "Slither." The last main song besides the aforementioned closer is "Folklore" and I know its actually a favorite of many, however, I cant say it is for me. The song has really some of Opeths worst lyrics: "Feel the Pain, In Your Brain, Insane." I know they're capable of better, the whole song has these elementary level rhymes and it feels rushed on that front. My biggest gripe with this song is that it just feels like they took two songs and merged them together. The first half is alright, kind of more of the same that we've seen throughout the album, the last couple minutes are this more epic closing "Wheels of Confusion" style jam that just doesn't hit in the context of where it is. It feels like it's missing the proper buildup and I feel like it could've been very effective if it had any relation the the rest of the song.

Overall, there is a lot of very strong material on Heritage and it is a very unique album in the Opeth discography. When it hits it hits, but sometimes it swings and misses. The next album "Pale Communion" is a much more strong and successful experiment in this style.

 In Cauda Venenum by OPETH album cover Studio Album, 2019
4.15 | 332 ratings

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In Cauda Venenum
Opeth Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Mikael 'kerfeldt and his merry men are back with their new album, available in either Swedish or English, or in a set comprising both discs. Actually it was originally envisaged that it would only be available in Swedish, until it was decided that possibly those that didn't speak the language (i.e. most of the rest of the world) may be put off by not being able to understand the words. I don't think anyone really knows what to expect from Opeth and a new album anymore, as there is a refusal to conform to any preconceived ideas, and certainly they have moved a long way since David Isberg (vocals) and 'kerfeldt (guitars) joined forces to create the 'most evil band in the world.' Of course, Ishberg left only a few years after the band started, but these days keyboard player Joakim Svalberg is the most recent addition, joining in 2011, so there has been a great deal of stability in the ranks in recent years.

When I first heard 'Ghost Reveries' back in 2005 I couldn't stop raving about it as it was a revelation, but since then I have learned to let each Opeth album just drip into my brain and not have any set ideas about what it is supposed to sound like before listening to it intently and repeatedly. This time around we have a band who in some ways sound like a modern Deep Purple when they jam such as on 'Heart In Hand', yet at others they display their Floydian influences and at yet others are far more like Tangerine Dream. It is an album which is incredibly diverse, mature, and absolutely fascinating. The production is sublime, and the acoustic guitars really shine on this, while 'kerfeldt is singing better than ever. It is highly polished, but not so much that one loses sight of the real emotion and desire behind this dynamic approach. Sure, if one were to hear just this album and no other then Opeth would be clearly described as being a progressive rock band with just a few metallic tendencies, which is a long way from the death metal act they started out as. Some bands lose fans as they change, and that has certainly been the case of me personally with Marillion and some others, yet I find each Opeth release to be an interesting event and always joyous.

Highly accessible, diverse with loads of different influences, this is an album any rock fan should listen to with open ears before making any calls on whether they are going to like it. Forget the name Opeth on the front, and just give it a good listen, as this really is a very good release indeed.

 Ghost Reveries by OPETH album cover Studio Album, 2005
4.26 | 1609 ratings

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Ghost Reveries
Opeth Tech/Extreme Prog Metal

Review by dougmcauliffe

5 stars Ghost Reveries marks my third Opeth review and also my first five star review for the band. Ghost Reveries is just an album that goes hard from start to finish. In a world filled with cliche boring prog metal, Opeth is a band that has always kept their integrity creating truly heavy music and more importantly, creating whatever type of music they want to. The production is wonderful, even though Steven Wilson doesn't have a hand in this one, its clear a major influence was drawn from his production style and even his own music at times.

Most of my favorite Opeth songs happen to be their openers, Ghost of Perdition is no exception. This song is perfect and exemplifies my favorite quality of Opeths music: the contrast between heavy death growly sections and the sections with clean vocals and softer instrumentation. We also quickly see the mellotron put in to use which proves to be a very worthy addition to Opeths music throughout this album. I love how Ghost of Perdition just holds no punches and comes right out the gate swinging. This energy continues with the monstrous Baying of the Hounds. This one-two punch just comes at you and will cause uncontrollable headbanging for 20 minutes straight. Following that is Beneath the Mire with its dark marching mellotron led intro. The final minute of this song is really just so creative and menacing. Atonement is the first song that really gives you some breathing room with its very spacey verse and catchy hook. The real star of the show to me is the euphoric atmospheric outro truly unlike anything Opeth had ever done prior. The next behemoth of a song is Reverie/Harlequin Forest. Similarly to Ghost of Perdition, it comes right out the gate with its iconic intro: "into the trees." The proggy playout in the final couple minutes just blows my mind every time, another just extremely strong and powerful song. Hours of Wealth is a beautiful minimalist style track. I love the intimate feel of it towards the middle when its stripped down to just vocals and electric piano. The Grand Conjuration follows and is in my opinion, the heaviest most aggressive track. This song never lets up with its raw, brutal energy from start to finish. Isolation years is a soft emotional track that serves its purpose of letting you cool down after the insanity that you just experienced.

Ghost Reveries is the best Opeth album. Front to back its filled with strong tracks and it is an album without flaw. Unlike many albums of this length, this one holds my attention throughout its 66 minute run time.

I give Ghost Reveries a 10/10. 5 Stars.

 In Cauda Venenum by OPETH album cover Studio Album, 2019
4.15 | 332 ratings

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In Cauda Venenum
Opeth Tech/Extreme Prog Metal

Review by uribreitman

4 stars Not really an Opeth album - more of a Mikael Akerfeldt solo project. The atmosphere is more relaxed, more retro and very 70's. Akerfeldt seems very comfortable leaving the extreme prog-metal behind, although he knows that his fans still want the heavy stuff. Three major tracks are "Dignity", "Heart In Hand" and the orchestral "Next Of Kin". The album never recovers from there, trying to be eclectic but gets a bit boring and mundane, in the process. By the time I reach the closer "All Things Will Pass", not much enthusiasm is left. So it sounds pretty good from a production perspective, and Akerfeldt surely knows how to arrange his songs - but this is clearly not the Opeth metal monster of the great years (1999-2005). All in all, this new product will enable Opeth to expand its stage repertoire, reach an older audience and perhaps to get closer to the world of Steven Wilson and the long-gone Porcupine Tree. It's not Opeth's best work to date (far from it), but it's good enough to be listened to.

 In Cauda Venenum by OPETH album cover Studio Album, 2019
4.15 | 332 ratings

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In Cauda Venenum
Opeth Tech/Extreme Prog Metal

Review by ProgShine
Collaborator Errors & Omissions Team

4 stars I respect Opeth very much! And I still believe they are one of the most important/innovative bands of the last 30 years. As the world sank with regrets over the group's changes since Heritage, I was curious to know where the band was going.

It turns out that the band... keeps going! After the great Pale Communion Opeth released a very weak album with Sorceress and I really didn't have much hope for the next album, but here they are with In Cauda Venenum!

First of all I need to get out of my head two little things that I noticed right away that are little easter eggs in the album (maybe there are more): The title of the album was obviouslyce mezzo-stolen from Italian Jacula's In Cauda Semper Stat Venenum. The album's opening track, Livets Tr'dg'rd, is a clear 'tribute' to the Swedish group 'lgarnas Tr'dg'rd. Being Mikael 'kerfeldt an avid 70s Prog collector this is no surprise. This makes me a little unquiet, I still don't know why.

In Cauda Venenum is a record that should please fans of the band's new phase. Despite the completely unnecessary introduction (an instrumental introduction only makes sense if it is linked to the concept of the album, it is not the case here, at all) the album brings variety, weight and also a little freshness to the band's sound. The fact that the album was composed in Swedish is extremely pleasant to my ears (yes, there is an English version, but Mikael himself in an interview said that for him the official album is in Swedish). There are several times when the weight takes over the songs, but there are parts with strings and many vintage keyboards.

The production of the record did not please me completely, the sound seems too compressed, there is the attempt, it seems, that everything has to sound vintage, but obviously recorded in digitail system. The drums suffer the most, a shame as Martin Axenrot did a fantastic job. But at the same time the insertion of voices and dialogues in Swedish throughout the album comes in quite well done.

Now, speaking about how long it is... 67 minutes! Needlessly long, at least 20 minutes longer than it should and this weighs on the end result: hearing fatigue.

Nevertheless, in the end, the Swedes delivered an exquisite work that requires some auditions to enjoy the album (I needed 4 and counting) and can easily reach the ears of the band's Prog period fans.

 Damnation by OPETH album cover Studio Album, 2003
3.98 | 1312 ratings

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Damnation
Opeth Tech/Extreme Prog Metal

Review by dougmcauliffe

4 stars This is an excellent release from Opeth. Notable for having no death growls, (long before their move to a "grow-less" prog rock sound in the recent years) it turns things down and focuses on an album full of mellower, but still very dark, songs. What really makes this album great is how all the songs really flow together nicely and share a common sound. Many of the songs are led by acoustic or clean electric guitars and backed by dark mellotrons, which really give the album a gloomy undertone. This is certainly among Opeth's most melodic albums. Not only in the guitars but in the vocals, Mikael does a fine job. Most the songs are really propelled by strong chorus's that got me singing along every time. The song "Ending Credits," is almost reminiscent of Camel, the guitars got that Andy Latimer melodic feel, though it's much darker sounding than any Camel song off the top of my head. Speaking of this song, one of my few complaints about the album is that this song isnt the closer, including the name, everything about it shouts album closer! The first two tracks are great, and immediately show what the albums all about, but my favorite lies in the 3rd track with "Death Whispered a Lullaby." Its kind of got a real feeling of doom within it which always sounds cool to my ears. The album takes a different turn towards the end of the song "Closure." picking things up with faster drums on the forefront and faint melodic guitars in the background reminding me ever so slightly of Camel again. "To Rid the Disease," is another wonderful song with that dark mellotron I love so very much. I would recommend this album to any prog fan. If you're only a fan of their newer prog-rock stuff, or you've tried them before and couldn't get past the death growls, this may be a worthwhile album.

7.5-8.0/10

 Heritage by OPETH album cover Studio Album, 2011
3.81 | 1265 ratings

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Heritage
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

4 stars The first Opeth album with that features a dramatic change in the music direction of the metal giants. Gone are death metal vocals and instrumentation, the foreground belongs to prevailingly metal guitars, clean vocals (sometimes a bit lost in the mix), versatile progressive rock drumming and increasingly used keyboards -> mainly Hammond.

The band is on the crossroads between not very convincing progressive rock and for the band more conventional progressive metal or heavy metal. The music is adventureous albeit not very experimental since the band showcases influences by various bands such as Dio or Judas Priest.

"Heritage" track is a soft intro, probably a bit similar to the sang beginning of "Watershed". "Devil's orchard" is a classic live progressive metal piece; the sound of hammond and lack of extreme metal signatures is the biggest alteration in the sound. Ominous riffs and acoustic sections have not disappeared, fortunately. The last walking part with excellent drums and guitars is very original and shows greater band involvement. Then comes a memorable guitar solo.

"I feel the dark" is quite the opposite for the first track with subdued electric guitars and mellotron before a creative climax and shift changes. There is even a metal-jam-session reminiscent short moment. "Slither" is a retro nod to 70's hard rock, a good but not exceptional song. "Nepenthe" is a progressive-rock track notable for the sliding guitar.

"Häxproces" is a typical Opeth track minus extreme metal and Floydian guitar ending. "The lines in my hand" is compositionally uninteresting but has great drums and bass guitar lines. It could have stayed as an instrumental track. The end is marked by a typical evil Opethesque guitar solo which results in a perhaps heaviest moment of the album. "Marrow of the earth" is the only instrumental track, melancholic as Opeth can ever get and contrasting to the previous tracks - acoustic guitar leading with tasty lines.

Although the album was criticized upon its release by many old fans, in the advent of newer Opeth albums and further changes, it has actually stood the course of time quite well.

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

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