01	The Moor						11:26
	02	Godhead's Lament						09:47
	03	Benighted						05:00
	04	Moonlapse Vertigo						09:00
	05	Face Of Melinda						07:58
	06	Serenity Painted Death						09:13
	07	White Cluster						10:02

Released: October 18, 1999
Running time: 62:31
Tracks:
1. The Moor (11.28)
2. Godhead's lament (09.47)
3. Benighted (05.01)
4. Moonlapse Vertigo (09.00)
5. Face Of Melinda (07.59)
6. Serenity Painted Death (09.14)
7. White Cluster (10.02)

Published by Zomba music Ltd.

Mikael Okerfeldt - All Vocals, Guitar
Peter Lindgren - Guitar
Martin Lopez - Drums
Martin Mendez - Bass Guitar

"Still Life", the fourth Opeth volume was recorded at Maestro Musik and
at Fredman Studios during the 15th of April and the 29th of May, 1999.
Produced and Engineered by Opeth
Sound setting and additional engineering by Fredrik Nordstrom and Isak Edh
Mastered at The Mastering Room by Goran Finnberg
Booklet designed by Travis Smith and Opeth
Photos by Harry Valimaki and Travis Smith
Logo designed by Timo Ketola
All music and lyrics by Opeth



S E S S I O N D I A R Y

The guitars we're recording during 5 or maybe 6 days and came out great. Way clearer than before although not as fat as on the Hearse album. This session was the first for our new bass player Martin, and I could tell he was abit nervous. Still it went great, we even used a fretless bass again on the "Melinda" track. Making the overall sound even more jazzy. After 4 weeks in Maestro we went back to Fredman studios to record the vocals. We had somewhat of a time-pressure as we needed the last few days to mix. It took me 3 days to record all vocal takes, well 3 nights to be exact.

There was one day when me and Peter worked for almost 24 hrs, and we ended up getting so fucking tired we hallucinated. It started with me hearing a cough while I was in the vocal booth. I looked out but saw no.one. I asked Peter: "Man, did you cough?", "No, why". I was terrified thinking that someone was there with us. Me and Peter went out probing the area after suspicuos things.

And mind you, the new Fredman studio is pretty big with several different rooms, and if that is not enough, it's located in an industrial area where no-one usually comes around in the middle of the night.

Anyways, we didn't find anything, but the rest of that day we were certainly affected by everything as there was indeed some kind of spooky felling in the air. Sure enough it was just our tired brains that played us a trick. And the cough I mentioned had somehow been recorded on the tape. We still don?t know who it is, and it's still there on the album in the 1st track.

The mixing went great, and we only spent 3 days doing it. We had also booked a day at Gran Finnbergs place to master the album which we did. Ok, so the album??



Released in Europe by Peaceville/Music for nations
Released in Japan by TBA
Released in USA by TBA
Rest of the world TBA

Complete list of equipment used for the recording:
STILL LIFE, Studio Fredman:
Equipment section:
Electric guitars : Gibson SG-78, Gibson Les Paul-74, Fender Stratocaster-72
Acoustic guitars : Sigma by Martin semi-electric.
Bass Guitars : Fender Precision, Samick 5-str fretless
Drums : Ludwig Custom, Zildian & Sabian cymbals
Amps: Peavey 5150, Fender dual reverb, ENGL 100 Watt head, and more
Strings : Dadario 010 electrics, Thomastic 011, Dadario bass
Effects: Boss Distortion, Cry baby wah, Elektro harmonix small stone, E-bow
----------------------------------------------------------------------------------------------------------
A fresh start in many ways. The albums for Candlelight were all released and we were looking for a new label. We talked to several different companies and almost inked a deal with Earache records. But just days before the Earache contract was closed, I got an e-mail from Hammy of Peaceville records saying that he was interested in signing Opeth to his label. At the time, I didn?t know that much about the company other than that they had released a few classic albums like Paradise Lost and Autopsy, and it was to me more a "cult-label" than an option for Opeth. When I got the contract I was blown away. It pissed on all other offers, and when I realized what kind of bloke Hammy himself was, I saw no reason why we should resist. We started working on their already brilliant offer and inked it during the recording sessions of the new album. We actually have photos of us signing



Still Life
Date of Release 1999

Having taken their oppressive black metal symphonies to their furious zenith with their third effort, My Arms, Your Hearse, Sweden's Opeth began deconstructing their sound on 1999's brilliant Still Life. A logical next step in their evolution, the album finds the band re-examining their unlikely fusion of progressive rock and black metal to highlight the former while staying in touch with the latter. The result is a formidable splicing of harsh, often jagged guitar riffs with graceful melodies, and the increasing use of Mikael Akerfeldt's "clean" vocals (alternated with his ever-present death growl). This tactic only serves to spotlight the quality of Akerfeldt's lyrics (a rarity in extreme metal circles) and, in the tradition of prior efforts, Still Life is a full-fledged concept album, which, without going into unnecessary details, centers around a tale of unrequited love for a character called Melinda (a discreet reference to Mercyful Fate's early-'80s classic Melissa, perhaps?). Also new to the mix are a wealth of more dynamic, almost groove-oriented riffs (see "Godhead's Lament" and "Serenity Painted Death") which break away from the Wall of Sound overtures of the past. On the other hand, outstanding, multi-faceted epics like "The Moor," "Moonlapse Vertigo," and "White Cluster" carry on in the proud Opeth tradition. The all-acoustic "Benighted" is the album's only one-dimensional track (and a beauty it is, too), while the awesome "Face of Melinda" represents a new career high with its quietly building atmosphere and powerful finale. Ultimately, this is another star turn for the group, and the fact that they somehow managed to outdo themselves with their next work, Blackwater Park, is a testament to Opeth's greatness. - Ed Rivadavia

1. The Moor - 11:26
2. Godheads Lament - 9:47
3. Benighted - 5:00
4. Moonlapse Vertige - 9:00
5. Face of Melinda (Akerfeldt) - 7:58
6. Serenity Painted Death - 9:13
7. White Cluster - 10:04

Martin Mendez - Guitar (Bass)
Mikael Akerfeldt - Guitar, Vocals
Peter Lindgren - Guitar
Martin Lopez - Drums

2001 CD Peaceville/Snapper 62078


OPETH
STILL LIFE

Peaceville / Snapper; ASIN: B000050IE6

--------------------------------------------------------------------------------
Jonny thinks Mr. B is soft in the head
Still Life is one of the most beautiful albums ever made. Beautiful in terms of every attribute; Scope, Intent, Execution, Musicianship, - literally everything about Still Life is gorgeous. Even and especially Akerfeldt's ultra-growl vocals. Opeth is sadness. Better put, Opeth is understanding the beauty that can be found in sadness. I'm grabbing at straws here, because writing any sort of objective review of this or any other of Opeth's four albums is a Herculean task. With the exception of our very own Mr. B, I have never read a negative review of Opeth. Speaking of the Greeks...

I was trying to think of an appropriate metaphor that could help me illustrate the scope and sweep of this record. Here is what I came up with:

The Odyssey by Homer

Yeah, that is what I just wrote. Here's why. It is not so much the lyrics, though for the Death Metal genre the lyrics are Durrell to all other band's Bukowski. In The Odyssey you have Ulysses running around and doing stuff. Epic stuff. Musically, Opeth is an odyssey. These guys just do not let up. They kill all matter of mythical beast and pry open the eye of your typical "Cycloptic" metal fan. I'm talking to you, Mr. Korn Fan. So, roughly, that is why Still Life, and really to be fair all other Opeth Albums, are like The Odyssey. Here's more.

In The Odyssey, Ulysses comes back from his "odyssey" and finds his wife taken with a new man (or men, depending on how you read it) and his home basically overrun by strangers. He goes through the full gamut of human emotions. Jealously, pain, betrayal, confusion, bitterness, anger, revenge, bloodlust and finally murder. Then in one of the more brutal passages in literature (especially interesting if you believe that Homer is the foundation of Western Civilization) Ulysses slaughters every single one of the interlopers. Note the similarity to Still Life The protagonist of Still Life does basically the same thing when he returns home after a fifteen year adventure to find his love and bride-to-be, Melinda, bequeathed to another man. Check these lyrics;



Darkness reared its head
Tearing within the reeling haze
Took control, claiming my flesh
Piercing rage, perfect tantrum
Each and every one would die at my hand
Choking in warm ponds of blood
At last, weak and torn I went down
Drained from strength, flickering breath

Call it archetypal if you will, though Viking culture was pretty fond of uber-warriors returning home and kicking ass. See Holgar The Dane. I can't tell if just before all that bloody bluster Melinda had been taken away from him, or if she was killed. No matter, either way he lost the girl. Not only does Akerfeldt paint us this horrific picture lyrically, but he does it with his throat as well. Moving from the softest of joys to the most harsh and extreme, his growl is legendary for a reason. Even when compared to what he did one album previous on the famously brutal My Arms, Your Hearse, Mikael's vocal skills reflect new levels of sorrow and melancholy. Opeth as a band, solidified for the first time since Orchid, also goes from weepy to homicidal at the drop of a hat. Check out the 5:50 minute mark of "White Cluster." My point is, Still Life is not only epic, it's mythological.

Opeth really cranked it up a notch with this, their fourth release. I mean, can you think of another death metal band where the melodies get stuck in your head? No, you can't. With the exception of their latest record, Blackwater Park, no other record can even sit on the same shelf with Still Life.

--------------------------------------------------------------------------------

Ruthless Ratings
Buy It or Burn It: Um, in a word, buy. Not only is it one of the best records you will ever buy, but the packaging is real nice, too.
Quantify It: 10 points out of 10. Still Life is that good.
Amount of times a day you think about the fact that Opeth will be releasing two albums simultaneously within the next few months: 4

--------------------------------------------------------------------------------

Here is a review I wrote for Amazon.com before Ruthless existed as a site
With Still life, their fourth album, the masters of Swedish Melancholy are back with a vengeance. Simply put on this album, the hard parts are heavier, the soft parts are creamier and the mood is sad, sad, sad.

Opeth are utterly frightening musicians. They excel in areas where other bands are afraid to even tread. Like pulling off thrash breakdowns in the middle of grinding death metal riffs, only to throw in a lone acoustic guitar in for one measure. The singing ranges from classic cookie monster growl, to genuinely sweet, melodic bridges. Again, this is ground that Opeth has covered in the past, but their mastery of it is becoming more and more complete. And the drums are booming.

If you are reading this you are probably already a fan of Opeth. Maybe you have just heard that they are pretty good. Even within the doom metal circles, these guys have a great rep. But Akerfeldt, Lindgren, Lopez and Mendez take it way up a notch here. Because they are not just singing about dueling trolls and God's withering touch. They are talking about women and how sad this makes them. In other words, they realize they are human. Which is a good thing.

I played this album for my best friend in my car and when I asked him how he liked it, he replied, "It's perfect." Indeed.
--------------------------------------------------------------------------------


Opeth

Formed 1990 in Stockholm, Sweden

Brought together in Stockholm by guitarists Peter Lindgren and Mikael Еkerfeldt in 1990, Opeth added progressive influences and acoustic instrumentation to their brand of Swedish death metal. As the group progressed, it was very common for an Opeth live set to fly in several different musical directions, on top of an average song lasting no less than ten minutes. Impressed by their originality, Candlelight Records released their debut full-length in 1995, which was titled Orchid, and featured a rhythm section of bassist Johan DeFarfalla and drummer Anders Nordin. Edge of Sanity mastermind Dan Swano produced the band's ambitious second album Morningrise in 1996, after which they embarked on a brief tour with Morbid Angel. Century Media took notice and not only licensed Opeth's first two albums for the United States, but also planned on releasing their next album on both sides of the Atlantic. With the recruitment of bassist Martin Mendez and drummer Martin Lopez (ex-Amon Amarth) to replace the departed DeFarfalla and Nordin, Opeth's third album My Arms, Your Hearse was released in 1998 to glowing reviews, establishing the band as a leading force in progressive metal with death roots. 1999's Still Life displayed even more of the band's prog-rock influences, and the following year the band played its first U.S. concert at the Milwaukee Metalfest. Blackwater Park, titled after an obscure psychedelic prog outfit from the '70s, was released in early 2001. - Mike DaRonco






1995 Orchid Century Media
1996 Morningrise Century Media
1998 My Arms, Your Hearse Century Media
1999 Still Life Peaceville/Sna
2001 Blackwater Park Koch
2002 Blackwater Park [Bonus Tracks] Koch
2002 Deliverance Koch




Still Life
Date of Release 1999

Having taken their oppressive black metal symphonies to their furious zenith with their third effort, My Arms, Your Hearse, Sweden's Opeth began deconstructing their sound on 1999's brilliant Still Life. A logical next step in their evolution, the album finds the band re-examining their unlikely fusion of progressive rock and black metal to highlight the former while staying in touch with the latter. The result is a formidable splicing of harsh, often jagged guitar riffs with graceful melodies, and the increasing use of Mikael Akerfeldt's "clean" vocals (alternated with his ever-present death growl). This tactic only serves to spotlight the quality of Akerfeldt's lyrics (a rarity in extreme metal circles) and, in the tradition of prior efforts, Still Life is a full-fledged concept album, which, without going into unnecessary details, centers around a tale of unrequited love for a character called Melinda (a discreet reference to Mercyful Fate's early-'80s classic Melissa, perhaps?). Also new to the mix are a wealth of more dynamic, almost groove-oriented riffs (see "Godhead's Lament" and "Serenity Painted Death") which break away from the Wall of Sound overtures of the past. On the other hand, outstanding, multi-faceted epics like "The Moor," "Moonlapse Vertigo," and "White Cluster" carry on in the proud Opeth tradition. The all-acoustic "Benighted" is the album's only one-dimensional track (and a beauty it is, too), while the awesome "Face of Melinda" represents a new career high with its quietly building atmosphere and powerful finale. Ultimately, this is another star turn for the group, and the fact that they somehow managed to outdo themselves with their next work, Blackwater Park, is a testament to Opeth's greatness. - Ed Rivadavia

1. The Moor - 11:26
2. Godheads Lament - 9:47
3. Benighted - 5:00
4. Moonlapse Vertige - 9:00
5. Face of Melinda (Akerfeldt) - 7:58
6. Serenity Painted Death - 9:13
7. White Cluster - 10:04

Martin Mendez - Guitar (Bass)
Mikael Akerfeldt - Guitar, Vocals
Peter Lindgren - Guitar
Martin Lopez - Drums

2001 CD Peaceville/Snapper 62078



Opeth [Sweden]
Updated 1/1/02
Discography
Orchid (95)
Morningrise (96)
My Arms, Your Hearse (98)
Still Life (99)
Blackwater Park (01)


Reviews
Opeth (Still Life line-up) - Mikael Akerfeldt, Peter Lindgren, Martin Mendez and Martin Lopez

Opeth are an original musical entity. Their style can be labeled as progressive extreme metal, but their music has absolutely nothing in common with the Dream Theater clones, as well as the extreme fusion bands (Atheist, Cynic). Rooted both in the more advanced death metal traditions (i.e. later Death) and the melodicism of bands like Camel, early Genesis or their Swedish contemporaries Anglagard, Opeth combine it all into a dynamic mix, adding their own mystic cover and originality. Sound-wise they are guitar-based (no keyboards). Unlike traditional death metal, where there's a clear division between low-end riffing and solos, Opeth dwell in rich polyphonic textures and haunting harmonic progressions; electric and acoustic guitar patterns are intertwined and have an equal importance to the compositions. The vocalist posesses a deep and melancholic clean voice, but also a versatility in extreme vocal styles - growls, rasps - but not barking; the harsh sounds from his throat are usually long and extended, and fade out slowly. Composition-wise they have their own approach, the closest known siblings would be Genesis' "Supper's Ready" or, again, the songs of Anglagard. The movements (the word "songs" is inappropriate here) consist of sequences of complex repetitive riffs/patterns, which (after being introduced) mostly disappear never to return again, or to return as a variation, or a mutant version. In the hands of a less talented band, this approach would surely lead to failure, but after a few missteps, Opeth have mastered this form perfectly - the seemingly unrelated themes flow naturally from one to the next, and later reappear as reminiscences. Most of the riffs are multi-part webs of guitar melodies and harmonies ranging from haunting melodicism to dark dissonances (there's a discernible VoiVod influence in the later albums); the acoustic parts are melancholic but always busy and intense. With such complexity within a single riff, repetition never seems pointless or unnatural. While there are a few guitar solos scattered throughout their albums, the band always focuses more on composition, balance, flow and dynamics. Here's a description of their albums.

Orchid: All trademark elements of the Opeth style (described above) are present on the very first album. The music here is based on twin guitar post-Iron Maiden melodies, but where Iron Maiden thrived on recycling the same melodies and extending pointless guitar-passages to no end, Opeth just take the basis of that melodic aesthetic and exploit it to the fullest extent on a radically new level. The music fluently and logically travels from section to section, and as a whole this album has a certain trance-like and hypnotic quality, built by powerful reverbed guitar themes and monotonous drumming. The notable songs are "Under the Weeping Moon" with its simple and surprising acoustic/psychedelic breaks, the dynamic and intense piano piece "Silhouette" and the most hypnotic track - "Forest of October". The highlight comes with the closing track, "The Apostle in Triumph" - a masterfully crafted composition, with contrasting themes - acoustic guitar passages together with fast improvised bass give way to an open, epic and powerful theme, which reappears in a different form towards the end and develops to an ambivalent climax - this piece of music is their first which posesses a "storytelling" quality, which would be reborn with new force on later albums. All in all, a good album - no signs of immaturity.

Morningrise: A logical development of the Orchid style in all directions, with all the benefits and drawbacks such development can bring. The melodies are becoming more exquisite, the progressive influences are more obvious than before, but the compositions are suddenly lacking in flow and logic of structure. The first three tracks have no identity, since they are constructed from totally unrelated parts, and while individually each melody is beautiful, mostly they are wasted. The other two tracks are slightly more focused. "Black Rose Immortal" is a 20-minute journey through alternating folk and metal snapshots, and succeeds at building a mood, while "To Bid You Farewell" is a subdued, mostly acoustic number with no harsh vocals and a melancholic aura. Overall, this album is OK for a casual listen, but in the end it's too meandering, and most of the dynamic of the first album is lost. I have to note, though, that many Opeth fans have this album as their favourite.

My Arms Your Hearse: With an updated rhythm section, Opeth come out with a renewed sound and a considerable leap forward in quality. Gone are the twin guitar-melodies and the frequent start-stops of Morningrise. Instead we receive an overwhelming polyphonic assault; raging chordal guitar attacks and fast, brutal drumming mingle with Camelesque lead melodies so naturally that one may think they were supposed to sound together from the beginning of time; simpler sections give way to more complex and extended themes; underneath the seemingly common minor-mode acoustics and leads we can discern subtle dissonances which are barely noticeable unless you pay attention. While structurally it's still the same as Morningrise - no riff ever repeats - the flow is much more natural, and even the really disjointed parts work together in an absurd way. The album is a concept, and the division into songs/tracks is more symbolic - but a few pieces are definitely praiseworthy: "Demon of the Fall" is a disturbing collage of eerie sonic paintings - even the acoustic passages are relentless and brutal; "Credence" is a brilliant, ghost-like acoustic "ballad" where again, a seemingly simple chord-change is tastefully peppered with "wrong" notes and details; "Epilogue" is a moody guitar-instrumental in the vein of Camel's "Ice", set against an autumnal backing of a Hammond organ. A special praise goes to the vocalist, Mikael Akerfeldt, for great improvement in expression and ability. One of the band's darker and moodier records, very good and recommended.

Still Life: An even more dramatic improvement and probably the band's highest achievement so far, this album is their most complex and intricate work. The compositional technique has developed far beyond the linear riff-sequencing of the two previous records; the songs have a clear, cohesive identity and are tied together by motifs and themes whose echoes reappear as variations in different parts of the song, thus enhancing the "storytelling" aspect of the music. Music-wise, here you can find jazzy chord-progressions and leads, atonal chaotic death-metal, classical guitar detours, lush polyphonic layering of acoustic and distorted guitars, and a whole variety of vocal styles. Again, this is a concept album. Every song is brilliant here. "The Moor" begins with a surreal, uneasy acoustic-plus-lead mantra which leads into a journey through open spaces of fast riffing; later all guitar-layers dissolve one by one for a quiet, introspective detour and then back into intense movement; a very picturesque song. "Godhead's Lament" starts with an intense burst reminiscent of the darkest and most ironic symphonies of Shostakovich; the theme slowly hides behind new images, only to return after a folkish song-within-a-song, as a mocking variation. "Benighted" offers a meditative respite : a classical acoustic guitar theme develops beautifully and contains a bluesy guitar solo. "Moonlapse Vertigo" is another well-crafted composition, held together by a shifting rhythmic pattern; a relaxed song, even in the distorted parts, with a very prominent Camel influence. "The Face of Melinda" is the emotional core of the album - a moody jazz-rock song with rhyming verses transforms into a moving, powerful hymn. "Serenity Painted Death", after a neutral introduction, erupts into chaos and despair; themes with seemingly incompatible moods frantically escape from each other - vision of death, anguish, desolation, indifference, rage, pain, oblivion, awakening and again the vision of death. In this song the "inconsistency" returns with a soul-shattering result. The closing track, "White Cluster" continues the chaos, the peak comes with an ascending scale-recitation, repeated on and on with growing intensity, conjuring a feeling of inevitability. Close to genius and absolutely recommended.

Blackwater Park: Produced by Steven Wilson of Porcupine Tree (he was apparently hugely impressed by Still Life), who also added some piano and guitar parts, sung a few lines and brought amazing textural depth to the band's sound. At this stage Opeth are equally comfortable with structured and disjointed composition, and push every aspect of their music to the extreme. The distorted parts are dense, brutal and more prominently disharmonic (like VoiVod, but not "robotic", more like overwhelming walls of dissonance), the acoustic parts are minimalistic and desolate. While the previous records were warm and emotional, here we get the total opposite: cold apathy, scorn, disillusionment and plain hatred. In some places, like the Porcupine Tree-meets-Jeff Buckley acoustic "Harvest", the warmth returns, even if it's the warmth of relief before dying. "The Drapery Falls" continues in the same tempo, but after a while plunges into blackness and briefly displays its chaotic core, then attempts to escape it - this is one of the band's most perfect compositions. "Dirge for November" paints a long, almost endless nighttime funeral procession in the fog. This album is their most surreal and visual - much effort is taken to invoke images in the listener's head - and the biggest success is the gripping, doomed title track. In the beginning a couple of themes are introduced, and after a drugged psychedelic-blues detour these themes are gradually deconstructed piece by piece, until finally the music goes astray and turns into murderous guitar noise. Brilliant! One of the band's biggest achievements, but also a transitional album.

Personally I'd advise the newcomer to begin with Still Life and Blackwater Park, and then chronologically backwards. -- Andrew Orel

Opeth are a Swedish band that, while inarguably a metal act, are based as much in progressive rock bands like Camel as in their more obvious death metal roots. The standard Opeth song is a long and meticulously-detailed composition, bouncing between heavy parts with harsh (i.e. growled) vocals, beautiful acoustic sections often featuring outstanding clean vocal passages, and impressive instrumental sections. Most albums have at least one almost-entirely-acoustic song, typically rather bleak and introspective in nature. Although Opeth largely sticks to this same songwriting formula from album to album, it does not get stale. In fact, the band seems to improve from release to release.
Another interesting aspect to Opeth is that both varieties of vocals are provided by guitarist/songwriter, Mikael Akerfeldt, a fact that often comes as a surprise to the unitiated, given their disparity. Filling out the rest of the band are Peter Lindgren (guitars) and "new-comers" Martin Lopez (drums) and Martin Mendez (bass), who replaced the rhythm section of Anders Nordin and Johan DeFarfalla after the Morningrise album.

Their 1999 and 2001 releases, Still Life and Blackwater Park respectively, would make good starting points for prog fans looking to try on a little Opeth for size in that, aside from some very memorable tunes, they contain more "clean" vocals than previous albums. In addition, Porcupine Tree's Steve Wilson makes a guest appearance (backing vocals, guitars, and piano) on Blackwater Park. -- W. B. Henderson

Blackwater Park is possibly one of the most unique metal albums to come out in quite some time. Mixing equal parts death metal and atmospheric progressive rock, Opeth has created one of the bigger surprises of 2001. Having Porcupine Tree's Steven Wilson as producer can't hurt either. The leadoff song "The Leper Affinity" sets the tone in an abrupt way, with heavy and complex guitar lines amidst ominous death metal vocals. At the halfway point of this wonderful epic track, the band quiets down for an acoustic interlude that features some wonderful clean and melodic vocals, which then segues into some more bombastic metal fury. The tension that is created is simply amazing. A song like "Bleak" has such a complex and intricate arrangement that bands like Nevermore and Cynic come to mind. The band does a great job of switching back and forth between the death metal and clean vocals (I believe Steven Wilson handles some of the clean vocals), and although I am normally not a fan of the "razor throated growl", this band has so much going on musically that the vocals are by no means at the forefront. There is even a nice acoustic number called "Harvest" which contains some great melodic vocals, and is a nice break amidst some of the heavier songs. "The Drapery Falls" is another classic of heavy progressive rock, and at just under eleven minutes manages to take on many forms before the final closing chords. Fantastic use of different vocal styles on this one as well. Fans of more extreme metal will love "Dirge for November" and "The Funeral Portrait" two speedier numbers with unrelenting yet melodic power chords and screaming vocals. Some of the guitar work on "The Funeral Portrait" will remind of early Slayer. The epic title track is saved for last, and is a mighty statement of dark and crushing progressive death metal. In fact, with this album, I think Opeth might have started up a whole new genre. -- Peter Pardo

Links






Opeth




Discography

Orchid (1995)
Morningrise (1996)
My Arms, Your Hearse (1998)
Still Life (1999)
Blackwater Park (2001)


County Of Origin: Sweden
Established: 1990
Styles: Progressive Metal


Biography

Opeth is without a doubt one of my favorite bands of the 90s, progressive rock or otherwise. The group has its roots in Scandinavian death/black metal, but manages to transcend any kind of genre limitations, having produced five immense, foreboding and beautifully expressive heavy metal masterworks this decade. Make no mistake, Opeth does not play "prog-metal" in the typical sense, in fact, the band is much more ambitious and creative. They manage to combine the raw power of death metal with throwback 70s prog influences, impeccable songwriting and a killer sense of melody. Each album is a morose, expansive work that only reveals its respective beauty upon heavy listening.

For the most part the band's sound in based in killer dual guitar riffing, often recalling Iron Maiden-esque melodic heights, yet being far more intricate and complex than even that band, as well as utilizing progressive rock song-structures and heavy doses of acoustic guitars. Opeth flies into the heavier portions of songs with unbridled fury, as the searing guitars play off each other beautifully, creating a sense lofty melodic power with a dark and furious undercurrent. The heavier sections are complemented by lengthy acoustic sections, for which guitarist Mikael Akerfeldt is a sublime master of creating artful and atmospheric textures. The vocals are a mix of harsh "death" vocals, which could take some getting used to for prog fans, as well as Akerfeldt's consistently maturing "clean" tone. Overall they are relatively sparse, as the emphasis is definitely on the instrumental passages, especially on the early albums. Every Opeth album requires serious attention, as every composition is packed with precession, impeccable structure, flawless musicianship, and not to mention the undeniable emotional power.

When Orchid was first unleashed upon the unsuspecting underground metal community back in 1995, no one quite knew what to make of them. The band had black metal elements, certainly, yet they were incomprehensibly unique, with fifteen minute songs, a superior sense of melody, not to mention the command of subtle acoustic guitar elements. When Morningrise came out in '96, it was clear that the group was onto something special. This one is arguably their best album, and it was at this point that lead songwriter Mikael began to become supremely influenced by 70s progressive music. It was around the release of this album that I became interested in the group. The songs were longer, more ambitious and further developed the ideas on Orchid. Opeth were seen as artistic renegades within underground metal, and were still stretching definitions and puzzling listeners. No one knew they were actually listening to a perfect fusion of prog-rock and metal. Suffice it to say, 1998's My Arms, Your Hearse was a hotly anticipated release, and did not disappoint. Though I found it to be an ever-so-slight step down from Morningrise, many saw it as their best album yet, and it monopolized Album-Of-The-Year polls in metal mags and websites around the world. It was at this point that I was getting into progressive rock myself, and I found myself especially drawn to Opeth. In interviews, Akerfeldt made no secret of his love for progressive music, dropping names like Museo Rosenbach, Morte Macabre and Cressida. In fact, the album title of My Arms... was a lyric taken from Comus' obscure 1971 classic, First Utterance. Akerfeldt's love for this music was a major influence in my own jump into the underground prog music scene.

By now it was clear that Opeth was doing their own thing, and their style had become somewhat clearly defined. To say that 1999's Still Life was hotly anticipated would be a gross understatement, the band's rabid cult following eagerly gobbled up what some felt to be their finest album yet. This continued the band's winning streak. By this point, Opeth had not only established themselves as the masters of modern metal music, they had by now made some impact outside the community, attracting the interest of many adventurous progressive music fans worldwide. One of these new fans was the leader of the modern British prog group Porcupine Tree, Steve Wilson, who signed on to produce Opeth's next opus. Legions of metal and progressive music fans had been waiting with baited breath for the band's newest effort, Blackwater Park, and like every previous Opeth album, it is quite simply a masterpiece.

By now Opeth's style is firmly crystallized, and their relative popularity has met with something of a backlash in the metal community. Although Blackwater Park features some significant advances in sound, it is overall firmly entrenched in the exquisite, dynamic and defining style that we have come to expect from them. Overall, the band's discography features albums that, while all excellent, are quite similar to one another. They are all equally complex and beautiful, but one should probably start with either Still Life or Morningrise. If you like either of those, you may as well get the whole catalogue, you'll end up liking them all anyway. Each album absolutely requires your undivided attention to fully appreciate, otherwise you may as well not even bother. The only sticking point I could foresee would be the harsh vocals, but these must be taken as an atmospheric texture on the foreboding and immense canvases of which they are a part. Personally I love 'em. Opeth should appeal to adventurous progressive rock fans interested in the darker and heavier side of things, and looking for a completely unique listening experience. - Greg Northrup [February 2001]
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Orchid (1995)

Orchid was a phenomenal debut from this Scandinavian progressive dark metal band, showing an unparalleled level of sophistication and maturity even at this early stage. This first album is perhaps the most heavily rooted in black metal, with influences like Bathory and Venom creeping up along with Iron Maiden-esque sense of melody typical of other Swedish bands like In Flames or At the Gates. However, the distinguishing 'progressive' characteristics of their songwriting are here in spades; long epic songs, immense atmospheres and searing beauty.

I used to regard this album as the least spectacular Opeth release, and simply a presentation of a style they would later come to perfect. How wrong I was. In listening to this album in preparation for this review, I definitely rediscovered its magic. Having focused most of my attention on later releases like Morningrise and My Arms, Your Hearse, I unfortunately subjected Orchid to only cursory listens, which is totally the wrong way to listen to an Opeth album. The opener "In Mist She Was Standing" serves as a perfect example. One of the opening riffs suddenly took on a new dimension that I had never heard before. Where I once heard a cool guitar riff propelled by double-bass drumming, more listens revealed the independent nature of each guitar part, one in the left ear and one in the right. Listening to the way that they complemented each other, and anticipating the chord changes, my brain locked into the quite intricate melodic structure of each guitar part, significantly increasing my overall enjoyment. Instances such as these are aboud throughout this and every Opeth album. The presence of classical piano is also quite prominent, but Mikael's "clean" tone is sparsely utilized, opting for the "harsh" vocals on the vast majority of it. Overall a metallic masterpiece, certainly one of the finest heavy metal recordings of the decade. - Greg Northrup [February 2001]
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Morningrise (1996)

The legendary second album from Opeth is probably my favorite of theirs. Everything that was good about the debut, Orchid, is taken to another level on this one. The songs are longer and more engaging, the melodies are better, the transitions from full-throttle molten metal to plaintive acoustic passages are brilliantly executed. Everything about Morningrise is absolutely epic, and each song is a full and vibrant work of metal artistry, infected with foreboding and morose emotional textures. The dual guitars blaze through intertwined riffs while the bass cuts through the mix and adds a significant melodic dimension to everything. Akerfeldt's vocals go from primal roaring to more prominent clean vocal passages. At the time of its release, metal fans complained that the songs were too long, but for us prog fans, song length is certainly not a problem.

Every song here is exceptional, I especially adore the opener "Advent", probably because it's the Opeth song I've listened to the most at this point, and I'm familiar with every in-and-out on it. "To Bid You Farewell" is dominated by Akerfeldt's clean vocals, and actually exposes one of the few weaknesses of the group. His vocals are for the most part extremely pleasing, but there are times where he actually sounds out of tune. This is something that would be corrected on subsequent albums as his voice matured. "Black Rose Immortal" is the true centerpiece of the album and is uniformly excellent.

This is without a doubt one of my favorite heavy metal albums of all time. For those with a disposition towards both heavy metal and dark progressive music, yet a need for original and forward-thinking songwriting, Opeth's Morningrise is just the ticket. - Greg Northrup [February 2001]
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My Arms, Your Hearse (1998)

Though My Arms, Your Hearse was the album that really broke Opeth to wide critical acclaim in metaldom, it's probably my least favorite of theirs, although it's still excellent, and one of the best albums of 1998. The changes in Opeth style are noticeable but ultimately superficial, and the underlying theme of a progressive band playing metal music still dominates the listener from the get-go. The most noticeable change is present merely from looking at the sleeve. Instead of four 15 minute-plus songs, there are nine shorter songs on the album. However, it soon becomes clear that My Arms, Your Hearse is actually a concept album in the classic sense, and that the "tracks" merely serve as indexes throughout the captivating atmospheres of the record. The album is also noticeably heavier and more oppressive than before. Akerfeldt takes on a low guttural roar that stands in contrast to the higher pitched rasping on the earlier albums, which you prefer is simply a matter of preference. The most disappointing thing about this album for me was the departure (or ousting?) of their former bassist, who played beautifully on Morningrise, and whose melodic bass lines perfectly complemented the surging guitar themes. Here the bass is more locked in with the drums, as Akerfeldt himself laid down all the lines, pretty much as an afterthought. They play little more than a support role throughout.

Despite all this, My Arms, Your Hearse continues Opeth's string of phenomenal albums. Though the clean vocals are somewhat cut-down, there are much more effective when they do appear. The compositions are somewhat more daring and complex, not melodically but rhythmically, and the churning guitar riffs play with extreme syncopation and odd-times frequently. The great elements of the previous two albums are still here, the occasionally soaring melodies and the excellent acoustic guitar textures. My Arms, Your Hearse is indeed a great album, but probably not the best place to start. - Greg Northrup [Feburary 2001]