Disco de Opeth: “Ghost Reveries: Special Edition [Digipak]”

A lot of albums came out this year. I maybe anticipated a few them a bit too much, and was disappointed as a result. Hence, I kept the hype for this album to a minimum. I've found this to be a sound approach, since it prevents catastrophic let-downs and allows for pleasant surprises. I'd have to put Ghost Reveries in the "pleasant surprises" category.

I've been a big fan of Opeth since I discovered them, but even with all the appreciation I have for their sensitive and equally brutal variety of melodic death metal, I wasn't sure what to expect in this new album. The lack of Steve Wilson's presence as well as the decision to sign with Roadrunner (a label known for putting out a lot of mediocre nu metal and "hardcore" music) both had me a little worried. I worried in vain - Opeth are obviously in charge here.

The balance between the songs at first brings to mind Blackwater Park, a fantastic album in its own right, but there's more to this album than Blackwater Park Part Two. Steve Wilson may not be in the producer's chair anymore, but his influence is plain to see: interspersed between the blastbeats and melodramatic classical passages are bits of psychadelia-tinged prog rock ala Porcupine Tree.

Another obvious addition to the music here is the full time keyboardist (who I believe toured with them for Deliverence and Damnation as well.) While there aren't many big keyboard features, it has had a drastic effect on their overall sound. Throughout the entire album you can hear keyboards in the mix, blending perfectly with the texture of the guitars. The way the keyboards often work on this album also brings to mind Dream Theater, and in fact that influence pervails throughout much of this album (but if Dream Theater's technical acrobatics are a turnoff for you, don't worry - Opeth retain a tastefulness Dream Theater has not demonstrated since the Awake days.)

On the opposite end of the spectrum, there's a good deal of restrained minimalism on this album as well. Chunky half-step thrash riffs pop up from time to time (but always topped with a signature Mikael riff to remind us he still eats hack nu metal guitarists for breakfast.) Coincidentally, they bring to mind Sepultura, the band that almost singlehandedly kept Roadrunner alive during the metal drought of the 90's.

There's also quite a few serene and ambient moments on Ghost Reveries, particularely in the last few songs. Overall this has to be the single most schizophrenic Opeth album thus far; it contains many uncharacteristically positive sections of more rock-based guitar playing, as well as a handful of Opeth's most brutal blastbeats. It has moments even more peaceful and soothing than anything on Damnation, but is distinctly Opeth in its overall sound, and of course in the complex song structures.

If I can type this much about it when I have only listened to it twice, imagine what I'll have to say after I've gotten a chance to really digest it. That will take a long time, as do most Opeth albums, but even upon first listen this is still an extremely agreeable listen. If you are an Opeth fan already, buy this NOW as you will not be disappointed. If you aren't familiar with them already but are interested in immaginative alternative metal of the heavier variety, this is almost as good a place to start as Blackwater Park was for me. And if you don't like Opeth OR alt metal, well... you're probably not reading this anyways, right?

The opening track starts with eight slow plucks at clean guitar strings, instantly providing the faithful Opeth fan echoes of their last masterful creation, 2003's spellbinding "Damnation". Then, at the song's eighth second, the Swedes unleash their trademark attack upon the senses: thunderous guitars and singer/songwriter Mikael Ǻkerfeldt's otherworldly growls. Any illusions that Opeth have softened are dispelled in the ten minutes that follow.

From here, "Ghost of Perdition" revisits several melodic themes that Opeth have explored before, all revering the quintet's vigorous energy. The opening riffs, bludgeoning and powerful, are reminiscent of "The Leper Affinity" (off "Blackwater Park"). The softer middle section, with acoustic guitars layering Ǻkerfeldt's harmonizing sounds like "The Moor"'s similar section (off "Still Life"). Finally, when the intensity returns, the double-bass drum melodies and unconventional guitars echo "By the Pain I See in Others" (off "Deliverance).

"The Grand Conjuration", the album's first "single" has everyone talking. It is what "A Fair Judgment" would have sounded like if it were to have been possessed by the devil. The main riff is memorable, but unfortunately overused for a 10-minute song. Opeth's musical ADD, which is what has made the band such metal icons, was discarded in the songwriting process for this heavy piece, which I think jeopardizes the song's lasting power (however, I might be alone in this ruling).

The song is also sandwiched in between two gems, the all-acoustic and hyper-melancholic "Hours of Wealth" and "Isolation Years". The first of which begins with guitars that would make Days of the New's Travis Meeks envious, followed by an urban, piano-driven section, whose tormenting vocals may remind us of "To Bid You Farewell" (off "Morningrise"). The song is perfect for the desperate man in a closing tavern with such lines as "Looking through my window, seem to recognize all the people passing by - but I'm alone and far from home - nobody knows me". For a band known for its darkness and intensity, Opeth shine in tranquil splendor.

Despite all the similarities, the album is hardly a clone. Unlike many metal bands today, Opeth commands the genre in which they play and are far from using a tired formula. "The Baying of the Hounds", a faster, less intense track, illustrates Opeth's newest innovation: integrating keyboards into heavier pieces. Although Ǻkerfeldt (under Stephen Wilson's wing) used pianos and mellotrons in their last two albums, they weren't integrated into heavier songs and were found sparingly and experimentally. In "Ghost Reveries", new fifth member Per Wiberg adds a flute-like sound to "Ghost of Perdition", a funky twang to "The Baying of the Hounds", a middle-eastern melody to "Beneath the Mire" and a melancholic ambience to "Isolation Years".

Although this album wasn't produced by Porcupine Tree songwriter Stephen Wilson (as Opeth's past three albums have been), you can still feel the British prog-rocker's influence in the mix. The vocal arrangements at the sixth minute of "Ghost of Perdition" sound shockingly similar to PT's "Shallow" (off "Deadwing). "Atonement" hast the repetitive, psychedelic atmosphere that Wilson and company craft with every album, and the soothing, bluesy guitar solo at the end of "Hours of Wealth" is identical to Ǻkerfeldt's solo in PT's "Arriving Somewhere But Not Here" (also off "Deadwing").

The album is not perfect (as no Opeth album is), with such erratic and scatterbrained pieces as "Reverie / Harlequin Forest " and some weak points in "Beneath the Mire". Maybe I'm the one at fault - maybe I haven't yet captured the technical brilliance involved. But the album more than makes up for these faults. Opeth have proven themselves to possess metal's Hand of Midas. Having done no wrong in their 8-album, 11-year career, they follow this pattern of excellence with "Ghost Reveries". Hail, hail.

See also: Opeth - "Damnation", " Blackwater Park", "Deliverance"

I think vocalist/ guitarist Mikael Akerfeldt said it best, "There is no other band in metal like us." Normally, I would have found this funny and conceited if most other band's had said that about themselves. However, with Opeth I think he's right. They do what they do and they do it well. Being a long time Opeth fan I was semi worried about them being signed to Roadrunner records. A few thing's came to mind. A. They're going to suck up and become a shadow of their former greatness, B. alof of nu-metal kid's are going to get into them and will mkae them mainstream. Well, those worries of mine have been put to rest. Opeth actually recorded Ghost Reveries prior to signing with Roadrunner. So, if that may have been keeping you from buying this, don't let it. This to me, is what metal is all about. Heavy music, growling vocals. Fast/tight guitar work and so on, yet mixing in a great singing voice, keyboards and acoustic guitars. They bridge everything that is good about metal together. They're all great musicians and don't need a cheap Cannibal Corpse type image to get attention. The fact is, a band like this, mixing acoustic guitars and death metal growls could have come out very sloppy and unnatural if not done by incredible musicians. I feel somewhat ashamed of myself for doubting them for even a second. They once again return with a brilliant epic album that lives up to the legend that is Opeth. The only change in Opeth is the official adding of Per Wiberg to the band, who does keyboards and things of that nature. This album(amoung many others released this year) shows us that metal is still alive and well in 2005.

1. Ghost of Perdition: This track really got me excited. Another epic track clocking in around 10 and a half minutes. The first few seconds have some melodic guitar before kicking in to a heavy song. Inbetween the distorted guitars and death metal growl's we find some great acoustic guitar's along with some great singing. Even though Mikael's singing voice seems to be going faster and a little rushed in this song, it is still brilliant. I love how Opeth can write song's with such length and have every second be as exciting as the last 5/5.

2. The baying of the Hounds: Amazing. The music here is just so tight and intelligent. The acoustic guitar that kicks in at 7 and a half minutes is brilliant and feels so sad and emotional. While the guitar a minute before was a fast paced riff that made me wanna just headbang. Per Wiberg here does a great job of adding keyboards in here that don't push other insturments away but only add the atmosphere. Not a track you will find yourself skipping 6/5.

3. Beneath the Mire: Begins with some mid tempo drumming and some haunting organs. Has some of the best singing here. I find it just so incredible how he can go from a heavy growl to an incredible singing voice. The guitar that kick's in at around 3 minutes and nine seconds into the song, is pure magic. Soon after some keyboard's kick in that remind me of A Fair Judgement from the Deliverance album 4.5/5.

4. Atonement: A melodic intro, with some odd/ interesting drum's along with some singing vocals coming in around a minute and twenty seconds. The keyboards here take control and is one of the most melodic songs here 4/5.

5. Reverie/Harlequin Forest: Start's out with a single guitar riff and some incredible violin type keyboards that I just find amazing. Has some of the best lyrics on the album here. Alot of tempo changes, which for most band's would seem like a song with no direction. However, Opeth are the king's of such type song's and they know what they're doing. Incredible epic song 6/5.

6. Hours of Wealth: The first all acoustic song on the album, a wonderful ballad. Definetly has a gloomy mood to this song. The lyric's seem pretty sad and come off as meaningful and avoid the "o poor me" cliche song 4/5.

7. The Grand Conjuration: The second this song start's you know you're in for one hell of a dark ride. Even though it doesn't begin as very heavy, you know you're in for one heavy song. At around two minutes it get's to that point. The lightning fast solo is one of the best here, really show's their talent. Also, the keyboards give off a dark sound, which adds to the heaviness of this song. Another thing I love about this song, is that about 5 minutes into this song you think it is going to end but then comes right back in for another round 5/5.

8. Isolation Years: This song begins with some moody guitar, which I personally love. One of the shortest song's here is the perfect closing song. Leaves the listener wanting to listen to the album again and again. Brilliant. "And isolation, is all that would remain. The wound in me is pouring out to rest on a lover's shore." 5/5.

So, I recommend this cd as much as I do any other Opeth album. It is anything but boring and one of the best of 2005. You can not go wrong with Opeth. An album that lives up to their legendary status. Enjoy

Opeth has become my favorite band over the last two years, and that list included in my lifetime the Moody Blues, Genesis, Wishbone Ash, Nektar, Golden Earring, Camel, the Strawbs, Marillion, Porcupine Tree, and the Chameleons. You won't find a lot of continuity among those groups; their sounds are all, or mostly all, distinctly different, with but a few exceptions. But the common threads that you may interpret finding, which for me makes sense, is the sounds of each group are innovative (for their time) and were not really matched in any way by many other groups. Progressive music is the main thread for most of the music I've ever been drawn towards.

Opeth is metal and the vocals are not for most music listeners. But if you can absorb the music thru the unique dissonance of Mikael Akerfeldt's style of singing, which he uses about half of the time, and then allow his normal vocals to draw you in even closer the rest of the time, you will hear a sound that is not just brilliant but that continues to forge far ahead and beyond just about anything you think of as 'metal'. For me, this is progressive music at its best, but hard-edged in every sense. I was privileged to meet the band just quickly as they performed this summer in Austin, TX, and even in a small performance, they were captivating to my every expectation, and much more. They are a genius that continues to reward their followers.

Opeth is my favorite band, so this review is going to be incredibly biased in their favor. On the Lamentations DVD, Mikael Akerfeldt warned that they wanted to try something borderline black metal on the next cd, to push it in a direction they had been going toward but hadn't really entered into yet. If you loved that idea, then you'll be pleased with the doom metal influences I hear on this album, especially on the song Beneath the Mire. If you were turned off by the idea of black metal, and want only to hear the "progressive" and more melodic side of Opeth, you won't be disappointed either. The acoustic guitar, acoustic piano, and clean vocals sections on this cd are outstanding. I really think this is Mikael's best vocal performance of any of their albums yet. Hours of Wealth is a fantastic softer song... very broken-down, and very beautiful.

The cd is printed black on black, and you can look at the dark and ghostly artwork. This is definitely indicative of the dark musical content of the album. It definitely plays on black metal themes, such as enslavement and haunting... and with lyrics such as "The eyes of the devil / Fixed on his sinners." But at the same time, there is this overwhelming sense of regret - of dying alone and in darkness.

Working with a different producer and a different guitar-tuning gave this album a different mood than some of their other albums, but it is still instantly recognizable as Opeth. It has that beautiful blend of lush harmonies, intricate melodies, phenomenal drumming, and of course the contrast of the deep growling death metal vocals and the type of rhythms that pound into your chest.

This album is an absolute triumph. I wanted to end by recommending the best song to listen to, but I realized that they are all my favorites. I have nothing negative to say about any of them. So I'll leave it at this: Enjoy this one. Music this good is a rarity.