Disco de Opeth: “Watershed [LP Version]”

Watershed is the ninth Opeth album; and in some ways it signifies a new start for them. This is not totally surprising, given the band has a new guitarist and a new drummer now. Also, they they seem to be in a transition phase musically because Watershed, while encompassing lots of their past hallmarks, also delves into new musical territory.

The differences are mainly demonstrated in their impenetrable song structures, as Mikael Akerfeldt has constructed the album in a more evocative way this time time around. Unlike any other Opeth album, Watershed begins with the short acoustic track "Coil", where strummed acoustic guitars and beautifully arranged string work form the leeway for Akerfeldt and female guest singer Nathalie Lorichs to deliver the verses in an addictively melodic tone. Lorichs' vocals are amazing, and while the song clocks in at only three minutes, that's its charm.

Overall, Watershed is no where near as heavy as the previous Opeth discs, as it boasts a more experimental aesthetic throughout. However, the second track "Heir Apparent" is arguably the heaviest, most brutal Opeth song to date. Not only is it crushingly heavy, it is also the first Opeth tune with no clean vocals whatsoever. Sure, they have other tracks like "Blackwater Park", "Wreath", "The Amen Corner", and "April Ethereal" among others, but all of them contain some clean backing vocals, whispers, humming, et cetera whilst "Heir Apparent" is delivered with Akerfeldt's unmistakable growls from start to finish. Occupied by an assault of guitar fury in its chaotic intro, the piece contains laser-precise drumming and Akerfeldt's suffocating vocals that are contrasted by deft string work and clean, psychedelic-like guitar harmonies soaring over Axenrot's percussion. The ending to the song is equally baffling: smooth layers of guitar melodies overlapping each other.

New drummer Martin Axenrot will pleasantly surprise many an Opeth fan with his performance here. Not only does he play with admirable restraint on most of the album, but he also proves how capable a drummer is on "The Lotus Eater", which is another sound experiment for the band. The drumming on this dissonant tune is stupifyingly good, perhaps among Opeth's finest. Certainly the most technical song on the disc, it features blast beats over which Akerfeldt sings with clean vocals and then growls atop rapid-fire guitar riffery. Very interesting. The rhythm exercise of the song brims with energy, particularly during the instrumental break where guitars, drums and bass clash with each other without taking away from the composition.

Akerfeldt's love for the 70's is exemplified by the gorgeous ballad "Burden", whose main melody is very similar to the stuff Dan Swano does on Unicorn's Emotional Wasteland album. A bit like the material on Damnation, this one sees Opeth branching off into pure balladry mode, with moving guitar solos and vocals. The ending is especially confusing, as Akerfeldt's guitar is manually detuned in the finale. They obviously did it to escape the mellow ballad mood of the tune, and it definitely sets it apart. Despite that weird ending, Opeth proves they can write the best songs in any genre.

This album contains some of Akerfeldt's most enigmatic and personal lyrics, hence the reason why they have been excluded from the booklet. "Hessian Peel", the only ten-plus-minute song on the album, is a total embodiment of Opeth's current musical and lyrical vision. From the sombre acoustic intro to the mournful clean vocals, it evokes a funereal atmosphere where Martin Mendez' bass stands out in the mix. Too bad the bass in Opeth has been almost inaudible since the band's Dan Swano-produced albums, but this track has a healthy dose of his bass throbbing beneath Axenrot's calculated drum battery and the guitar duo's smashing rhythm parts. The song also contains some backward lyrics, most notable between 2:03-2:22. Obviously a reference to Led Zeppelin's "Stairway to Heaven", the lyrics read: "Out of the courtyard | Come back tonight | My sweet Satan| I see you". It's a dark tune with ghostly bursts of atmosphere, and Per Wiberg's Mellotron sounds as well as the string arrangement further enhance the tune's power.

Great shifting of dynamics permeats "Porcelain Heart", the only track Akerfeldt co-wrote with Fredrik Akesson. This is perhaps the only song where polar opposites are merged in a single composition: hammering guitar riffs are side by side with oboes (speaking of which, there is plenty of flutes, oboes, cellos on this album -- all live, not keyboard generated) and Akerfeldt's shift from hellish growls to lullaby-like singing in the middle part attests to his diversity. This is perhaps his most haunting moment -- very emotive and heartfelt.

The album ends on a creepy note with "Hex Omega", a curious mix of waves of guitar dissonance, strings floating across the whole track, and a forlorn piano motif. The droney ending of the song lends it a very creepy feel as well.

Watershed to me is a transition from Ghost Reveries much the same way Still Life was from My Arms, Your Hearse. It was only with Blackwater Park when they fully achieved the sound they were aiming for, so I feel their next album may present a larger picture as to where they want to go musically. At any rate, this album is another worthy addition to Opeth's back catalog.

BONUS DISC:

Besides the DVD and 5.1 audio mix as well as a cool "puzzle" (study the picture of the guy closely!), the Special Edition version also has a bonus disc with three tracks: the Middle Eastern-flavoured "Derelict Herds" with cool clean and heavy passages typical of Opeth; the amazing Robin Trower cover "Bridge of Sighs", a fairly loyal rendition of the original but Akerfeldt's vocals and especially the run-out blues solo are soul-crushingly beautiful; and the Swedish-sung "Den Standiga Resan", a largely acoustic tune dripping with sadness (it only features a heartfelt electric solo at the very end). Actually they were also supposed to include "Would?" by Alice In Chains, which would have been amazing, but sadly that tune has been left out.

Among the unknowing, Opeth has a reputation as one of those typical Scandinavian black metal bands. But they left most of that genre's stereotypes behind ages ago when they went prog. This album will probably divide longtime fans sharply into two camps - those who praise the band's continuing progression and experimentation, and the rest who cry sellout. (You can see that pattern in the reviews here.) Regardless, open-minded and adventurous listeners will find this album unexpectedly fascinating. The album is primarily quiet and haunting, with snippets of brutal metal appearing occasionally to manipulate the mood. (Your typical prog metal band constructs albums in the opposite fashion.) Keyboards and melodic vocals are prominent, with the lengthy songs laid out as suites passing through many experiments in style and emotion.

On first playing the opener "Coil," I was telling myself that the fragile acoustic balladry was just an intro and would surely erupt into loud metal at any second, but the song remains quiet throughout. Other thematic surprises include the bizarre jazz fusion break in "The Lotus Eater" and the detuned acoustic guitar solo that finishes off "Burden." Opeth remains among a dying breed of artists who construct albums as full compositions, with unexpected connections between songs and unconventional arrangements, and all of the band's adventures in experimentation can be found in the extra-epic "Hessian Peel." The only potential source of concern for this album is that with so many recent line-up changes, the Opeth sound now appears to be mostly a showcase for the ideas and talents of leader Mikael Akerfeldt and not so much a group effort, though fortunately keyboardist Per Wilberg and brand new drummer Martin Axenrot are especially impressive here. Not to mention Akerfeldt's continuing sense of musical adventure, on constant display throughout this fascinating album. [~doomsdayer520~]

Leave it to Opeth to surprise us with every new album. Riding on the momentum built by their last two albums and recent successful tours, the Swedish quintet released in May their ninth studio album, "Watershed". Known for their wall-of-sound compositions and overall crushing tone, the album starts off with "Coil", a 3-minute acoustic song featuring diverse instrumentation, Mikael 'kerfeldt's softer side, and a cameo by female vocalist Nathalie Lorichs. It's quite a bold move for a progressive death-metal band, but it pays off as it leads into the merciless "Heir Apparent", arguably an upcoming single.

From there we are treated to a diverse tapestry of sound, most of which we can call "vintage" Opeth, with several surprises thrown in the mix. The band had received some criticism on their previous studio album, 2005's "Ghost Reveries", namely that their trademark loud-to-soft transitions were becoming too forced. Whether or not they chose to acknowledge this criticism is moot, but the transitions in this album are much more fluid and graceful. Songs like "Hessian Peel" grow slowly from folk-inspired acoustic passages to the chthonic assault that makes Opeth such a powerful force. Along the way the band makes use of flutes, ("Porcelain Heart"), and strings to great dramatic effect ("Burden").

Though their 70's-prog influences are still shining in this album, the Swedes are far from going soft. "Heir Apparent" and "The Lotus Eaters" contain some of the roughest, fastest riffage heard since "My Arms, Your Hearse". This is no surprise - 'kerfeldt has been saying for a long time that it was a worthy successor to the album, released a decade ago. In between, it is clear how tightly the band has honed their craft. Even with a lineup change, replacing longtime guitarist Peter Lindgren with Frederik Akkeson and drummer Martin Lopez with the apty-named Martin Axenrot, there is a definite sense of consistency in the band's catalog. The dynamic, and often frantic, balance between intense and soothing, is still there, but not as deliberate and self-aware as it was in "Ghost Reveries".

With "Watershed", Opeth have created an eponymous album that vastly exceeded my expectations. Much like prog-metal peers Symphony X and their release of 2007's "Paradise Lost", they have perfected their style and created a remarkable work of power, consistency, and beauty. Though not perfect, as exemplified by the album's lackluster closer ("Hex Omega"), it is a solid musical statement, driven by 'kerfeldt's intricate and disciplined songwriting. Whether you're a fan of the dark side of distorted metal or the serene landscape created by lush acoustics, Opeth will deliver.

Leave it to Opeth to surprise us with every new album. Riding on the momentum built by their last two albums and recent successful tours, the Swedish quintet released in May their ninth studio album, "Watershed". Known for their wall-of-sound compositions and overall crushing tone, the album starts off with "Coil", a 3-minute acoustic song featuring diverse instrumentation, Mikael 'kerfeldt's softer side, and a cameo by female vocalist Nathalie Lorichs. It's quite a bold move for a progressive death-metal band, but it pays off as it leads into the merciless "Heir Apparent", arguably an upcoming single.

From there we are treated to a diverse tapestry of sound, most of which we can call "vintage" Opeth, with several surprises thrown in the mix. The band had received some criticism on their previous studio album, 2005's "Ghost Reveries", namely that their trademark loud-to-soft transitions were becoming too forced. Whether or not they chose to acknowledge this criticism is moot, but the transitions in this album are much more fluid and graceful. Songs like "Hessian Peel" grow slowly from folk-inspired acoustic passages to the chthonic assault that makes Opeth such a powerful force. Along the way the band makes use of flutes, ("Porcelain Heart"), and strings to great dramatic effect ("Burden").

Though their 70's-prog influences are still shining in this album, the Swedes are far from going soft. "Heir Apparent" and "The Lotus Eaters" contain some of the roughest, fastest riffage heard since "My Arms, Your Hearse". This is no surprise - 'kerfeldt has been saying for a long time that it was a worthy successor to the album, released a decade ago. In between, it is clear how tightly the band has honed their craft. Even with a lineup change, replacing longtime guitarist Peter Lindgren with Frederik Akkeson and drummer Martin Lopez with the apty-named Martin Axenrot, there is a definite sense of consistency in the band's catalog. The dynamic, and often frantic, balance between intense and soothing, is still there, but not as deliberate and self-aware as it was in "Ghost Reveries".

With "Watershed", Opeth have created an eponymous album that vastly exceeded my expectations. Much like prog-metal peers Symphony X and their release of 2007's "Paradise Lost", they have perfected their style and created a remarkable work of power, consistency, and beauty. Though not perfect, as exemplified by the album's lackluster closer ("Hex Omega"), it is a solid musical statement, driven by 'kerfeldt's intricate and disciplined songwriting. Whether you're a fan of the dark side of distorted metal or the serene landscape created by lush acoustics, Opeth will deliver.

A popular heavy metal magazine, you know which one, issued forth its Top 40 Heavy Metal Albums of 2008 recently...Opeth's "Watershed" placed fourth. The album that topped the list, Torche's "Meanderthal", is a revelation of sound and style, but as an album, it hardly tops "Watershed". Second place was the new album from the most overrated band in metal, Nachmystum...an album that tries new things that are not exciting and fails where Enslaved would have succeeded (this is what happens when pitchforkmedia endorses metal!). And third went to Genghis Tron's "Board Up This House"...this is hipster music and will be forgotten in two years as part of an antiquted hipster scene.

Lets face it folks...those albums that beat out "Watershed" for the top positions were hardly chosen for their artistic merit; they were chosen because they were newer, hipper, and more "cutting edge". The years, however, will show "Watershed" to be a far superior heavy metal album to anything that came out in the same calendar year.

My first impression of "Watershed" was that Opeth had officially kicked it into King Crimson gear. The proggy moments are proggier and more frequent, while the metallic passages have become even more dizzying and unorthodox. That notion, that this was their most overtly progressive album, was soon reconciled with the notion that this album was heavily influenced by epic doom metal such as Candlemass and Solitude Aeturnus.

Following the serene opener "Coil", the revamped line-up thunders down an oppressive chord that, to me, officially kicks off the new face of Opeth. The speedy over-indulgent riffage of "Orchid" sounds a lifetime apart from the doomy, pummelling, grand sweeping guitar work that is present throughout "Watershed". "Heir Apparent" and "The Lotus Eater", much like the first two tracks of "Ghost Reveries", are like a single piece, as they weave through a barrage of thick riffs intersperced with musical sections spanning a vast array of styles.

My favorite part of the album comes at the end of "Heir Apparent", when, following breif silence, the band unexpectedly breaks into a wave of clean and doomy riffage that crashes down with brutal majesty. This concept seems to re-emerge at the beginning of "Porcelain Heart". Sections such as this, where refined mid-paced guitar work carries the song, appear throughout the record.

Other moments of greatness on the album include the whirlpool guitar effect that repeats itself on "Porcelain Heart", the self-indulgent organ solo on "Burden", and, of course, the death metal assault that never lets up on "Heir Apparent".

Fans had to be worried when first listening to this album; Peter Lindgren and Martin Lopez were gone and by the time a band reaches their 9th album, who knows what failed experiments to expect? Luckily, Akerfeldt's willpower was too strong to produce anything sub-Opethian. There is change on this album, but it is all part of the slow evolution that has creeped up on fans from album to album. The best change, I must say, is the choice of Martin Axenrot on drums. The man is clearly rooted in the old-school, with a big sound that is far more epic and less controlled than the drumming of Martin Lopez. At moments you feel like the whole song is going to fall apart into oblivious noise on account of Axenrot's mercurial pace; but then, because of him, the band returns to form.

I will say that I don't think this album tops "Ghost Reveries" or "Still Life" as far as song-and-album-craft are concerned. However, where sound, atmosphere, and production are concerned, I think this is Opeth's finest hour. They continue to progress, however, they have also retrogressed as they display more of their traditional and doom metal influences than ever. Other bands may use the latest electronics, experiment with drone or psychedelia, or just release the same death metal album over and over again. Opeth, on "Watershed", show why they are the best metal band around today...because they never sacrificed their own preferences for that of the times.

It took Metallica 25 years to release their 9th album, and it was a mediocre affair. It only took Opeth 13 years to release their 9th album, and it was a masterpiece among a career of masterpieces.

"Watershed" is truly the best album of 2008.