Ghost Reveries - Opeth

-----Opeth - Ghost Reveries-----

Opeth are my favourite band of the moment. They are an exceptional band on album as well as live. They combine my 2 favourite genres of music, metal and prog rock, and though they're a heavy band, you can certainly hear their 70s prog rock influences (especially Camel). Most of you who have read my music experience reviews will know I rant on a bit about them, so I decided to write my first review on ...
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I'll try not to be too biased, but it's kind of hard when the band you're reviewing are the best band on the planet! ;-)

-----History/Discography/Line Up-----

Opeth are a progressive metal band hailing from Sweden. The band was formed in 1990 by David Isberg in Stockholm who invited Mikael Akerfeldt along for a practice as a replacement bassist (though no one else in the band was told about Mikael, which included ... more

-----Opeth - Ghost Reveries-----

Opeth are my favourite band of the moment. They are an exceptional band on album as well as live. They combine my 2 favourite genres of music, metal and prog rock, and though they're a heavy band, you can certainly hear their 70s prog rock influences (especially Camel). Most of you who have read my music experience reviews will know I rant on a bit about them, so I decided to write my first review on one of their albums so you can see why.

I'll try not to be too biased, but it's kind of hard when the band you're reviewing are the best band on the planet! ;-)

-----History/Discography/Line Up-----

Opeth are a progressive metal band hailing from Sweden. The band was formed in 1990 by David Isberg in Stockholm who invited Mikael Akerfeldt along for a practice as a replacement bassist (though no one else in the band was told about Mikael, which included their current bassist). After much turmoil in the band, that saw many members join and leave the band, including Isberg, they eventually found their feet, got a contract through Candlelight Records, and in 1994 released their debut 'Orchid'.

Since 'Orchid' Opeth have released several albums; 'Morningrise' (1996), 'My Arms, Your Hearse' (1998), 'Still Life' (1999), 'Blackwater Park' (2001), 'Deliverance' (2002), 'Damnation' (2003) and in 2005 'Ghost Reveries'. In the 11 years since 'Orchid', the band line up has changed a couple of times, starting with; Mikael Akerfeldt (vocals/guitar), Peter Lindgren (guitars), Johan DeFarfalla (session bass on 'Orchid', who later joined the band) and Anders Nordin (drums). The 2005 line up is now a 5 piece with Akerfeldt and Lindgren keeping their positions but now we find Martin Mendez (bass), Martin Lopez (drums, ex-Amon Amarth) and Per Wiberg (keyboards, ex-Spiritual Beggars).

Opeth have also been through a few record labels since signing with Candlelight Records. 'Still Life' was released through Peaceville Records before signing with Music For Nations who released 'Blackwater Park', 'Deliverance' and 'Damnation'. Music For Nations, part of the Zomba group, went into liquidation around 2004, and the fate of many of the bands were hanging in the balance. Zomba decided not to keep Opeth on their books, and a scuffle between the metal labels began to snap up the band. The winners of which was Roadrunner Records, which caused huge debates between fans of the band who were very passionate in making sure they didn't sign to a label who smothered their creativity, and, god forbid, pushed them too far into the mainstream metal culture.

Luckily, Roadrunner have let Opeth record an album without any restrictions (much to the delight of the worrying fans), and with this signing, have made 'Ghost Reveries' an easier album to get a hold of for fans who struggled to find their earlier releases (especially in the U.S.). Their fan base has expanded since the signing, but whether that is due to Roadrunner, or just hearing about them through word of mouth, is something I can't answer as I don't know. Maybe a mixture of both!

-----Artwork/Booklet-----

The artwork for this album is rather dark and menacing, really as you would expect from a metal band. The colours are predominantly black and golden brown. And as with past Opeth releases, the artwork (photography and illustrations) have been done by Travis Smith (Katatonia, Anathema, Soilwork). This is all apart from the portrait of the band inside. This is by Anthony Sorrento, a fan who won a competition to have his portrait put into Opeth's next album (which was this one). It's not bad actually, it looks like a portrait a 70s prog band would use as a cover for their album.

The booklet also contains all the lyrics (in case you want to sing and growl along), personal notes and "thank you"s to family, friends and colleagues, what the band endorses (ie Fender, Gibson, Sabian Cymbals etc) and on the back page, where the band recorded the album, the producers, the line up, who the music was written by, management etc. Everything you'd really need to know.

The back of the CD gives you the track listing, who the album's been produced by, website links and all the copyright information.

-----The Album-----

The album is 8 tracks long, but don't be fooled into thinking this is a short album! Opeth are a prog band, and don't do things by halves. No these songs are pretty long, the shortest around the 4mins mark (Isolation Years) and the longer ones over 11mins. But surely with tracks THAT long you'll get bored? We'll see…

This album is a concept album based on an occult theme.

**Ghost Of Perdition - 10.29**

This track starts with a misleading strumming guitar with what sounds like reverb (echoing) on it. This lasts seconds before kicking into a much more brutal evil sounding riff with Mikael's demonic sounding vocals. This soon becomes a little more mellow sounding, with Mikael's angelic vocals coming though. There is some beautiful riffage here which makes me completely jealous that I cannot play guitar like this! This leads back into the more demonic verse idea from the beginning. An even more melodic section comes in here, minus drums at first. There is some real beautiful strummed guitars with "ahhh" singing. This builds up, with more vocals coming in over the top, before a squealing guitar helps to introduce the next section. This new section is heavier, but this is still Mikael singing rather than his demonic growls. Again there are vocals layered up which give a lovely effect of depth. Into an instrumental section which again leads into a new theme where Mikael has some effects put onto the vocals which make him sound more distant (like he's singing in a tunnel). Then some fast kick action on the drums brings forth the demon into Mikaels voice. This is a faster paced section, which soon ends back into an instrumental section. This sees a small section on synths which reminds me of War Of The Worlds by Jeff Wayne, it's an almost flute effect. This is into another short melodic section and back into another instrumental. There is so much going on in this track, such vast changes, and you find that there are so many different themes, that you will only hear once. Into another demonic sounding section with pounding drums and some fantastic use of the 2 guitars. This heads off into another riff which sounds slightly odd and off key, though it's not at all, and then back into Opeth's angelic mellower side, and more "ahhh" vocals which seem far away at first and then brought to the main focus.

"Devil cracked the earthly shell
Foretold she was the one
Blew hope into the room and said:
"You have to live before you die young""

10/10

**The Baying Of The Hounds - 10.41**

Enter into this track with a strum of guitars, then a riff before the drums come in. This riff continues into the verse, where we hear Mikael's demonic vocals coming in again. Then a change, we hear the riff changing, it ascends then descends with the vocals still snarling away. There is good use of the guitars, and you can hear the baying of the synths. This leads us back into another verse sounding section, like the first. Then into an instrumental section. The guitar is fabulous, and you can hear the keys better. Then enter Mikael's angelic side. There are some great layerings of vocals which give a brilliant sense of depth, and atmosphere. This leads into another instrumental section. There is some great drumming in here, and a set of what sounds like out of tune guitars, which give a real feeling of anxiety. What will come next? Into a mellower section, and at last we hear a bit more from Per on the keys. This is leads into a section with Mikael's angelic vocals over chords which first sound slightly off key before resolving. This again gives a feeling of unease and tension. A short instrumental continuing this theme leads us into a heavier more tense section. Some fantastic guitar work in here, and the drums are perfect. There's a feeling we're building up to something! Enter Mikael's demonic vocals over this build up, and then we change into another guitar and drum based section. Then ripping into a guitar solo. But not like classic metal where it's all about one guitar, this is about the whole band, and the solo is complemented by the other guitars and drums. Then into a mellower section for the guitar and drums. It's an acoustic guitar sound repeating a beautiful riff, and shows a different more magical sound than the rest of the track so far. The guitar and keys over the low toms of the drums. Again a sense of anticipation in the calm before the storm. It's really beautiful, but for how long will this last? Not too long, in come the heavier guitars and drums, and a growling "OOOOOOOH" from Mikael. This is the heaviest feeling part so far, and it lasts a short while before an instrumental section takes off. Another growling "OOOH" before it changes once more into a far more darker side.

"I hear the baying of the hounds
In the distance, I hear them devouring
Pest-ridden jackals of the earth
Diabolical beasts and roaming in the forests
In wait and constant protectors
Calling you to sit by his side
Your self-loathing image in his flesh
A revelation upon which you linger"

11/10! My favourite on this album, well, if I had to choose one.

**Beneath The Mire - 7.57**

This track starts off with Martin Lopez playing around on the drums. Then enter the guitars strumming away, but it's the keys playing the main riff here. It sounds kind of eastern to me, something that I wouldn't have expected to hear from Opeth in the past. But being a prog band, I should have know to expect the unexpected. Then it changes, it sounds like a whirlwind, there's a real change, where it picks up and the sound surrounds you like a whirlwind. Then back to the original eastern sounding section. Then a heavier section seeing Mikael has his demon suit one once again. There is some fantastic drumming here from Lopez. The guitars have a real feeling of unease in this section. Then a change into a more strummy, punctuated short instrumental section that leads us into the next theme after a short second of silence. This sees Mikael has changed into his angelic suit. He sings over this punctuated continuation, before the guitars go off into a solo. Again this is supported by the other instruments rather than being a one man show. This band is a team, there is no room for a solo artist. Another second pause into the next movement, which sees the piano playing the chords and a guitar over the top. It reminds me very much of the 70s prog rock my dad brought me up on. A drum roll into a mellower instrumental section, with acoustic sounding guitars. There are some beautiful vocal harmonies here once again, which again leads us into a new idea, where another guitar solo comes in. You can certainly hear 2 guitars. Then into another movement with a real sense of build up, which again leads us into yet another new idea. Mikael growling over the riffs here before going into another section. It is ever changing, and you just cannot get bored as one section usually only happens once, though if you're lucky, it will be repeated at least one more time. A faster paced section, and Mikael's got his halo on once again. There are some wonderful guitar parts in here which give a feeling of unease, before a riff that ascends with the vocals. Back comes the demonic vocals over another heavier section, and another guitar solo over an instrumental. Then a strummed, punctuated part. It again sounds like we're waiting for something. It slows down and it's just the drums, then some squeals from the guitars, which make you feel like you are sneaking past evil sprites and demons on an increasingly scary path.

"Wept for solace and submit to faith
In his shadow I'm choking
Yet flourishing"

**Atonement - 6.28**

This track starts off very mellow. There is some nice guitar work, that again sounds eastern. This track flows gently like a sleepy river. The guitar sound drifts along, and what sounds like tribal drums (I think they might be bongos) fade in. Then enter Mikael's melodic vocals with an effect over them. It sounds like a vibrato sound. There are keys in here with the bongos. This track is a lot more mellow than the previous. It has a very eastern feel to it. It reflects the 'Damnation' side of Opeth rather than their heavier 'Deliverance' side. There is more repetition in this track than the others too. It's a verse, chorus, verse feeling, but with the chorus being instrumental. There's some nice piano riffs in here. It's certainly a more gentle and beautiful track than the others. Maybe one to play to your parents to convince them Opeth are the best band on the planet! It sounds like it's come to an end, but this isn't the case. In comes a final section which sounds like it should really be a couple of seconds track to itself, after the 5 second pause. This section is different to the rest of the track, with keys and guitars beautifully interweaving. I do think they should have separated this from the rest of this track and left it as a short unnamed interlude.

"Cleared the fog that was veiled around me
And blurred my sights
Suddenly, I'm no longer aching
To honour my plights"

9/10

**Reverie/Harlequin Forest - 11.39**

Distorted guitars quickly introduce Mikael's melodic vocals, with pounding drums. The verse fades into a similar instrumental section. The guitar riff is very good! Then into the next section. It continues Mikael's melodic vocals, and moves back into the verse. This time there are some fantastic vocal melodies giving it more depth. Again, the second section comes back in. Then it changes and we hear Mikael growling, this leads into a heavier growled section, and then into an instrumental and back to the growling section. This moves into an acoustic guitar part which brings back the mellowness of the start of the track. Again there is some beautiful guitar work here. It does make me very jealous that I can't play like this! Then a section which is just a strummed guitar with an effect on it (or perhaps it's the keys), which is closely followed by angelic vocals. Then a beautiful guitar riff over keys. Then the drums and vocals come in for the next section which is still continuingly mellow. Again reflecting the 'Damnation' side of Opeth. The vocal melodies in here are fantastic! Into an instrumental section, which again reminds me of the 70s prog I was weaned on as a youngster. It's very beautiful! Then it gets a bit louder. Strummed electric guitars come in. And the vocals here are just fantastic! Some brilliant melodies. The vocals exit, though the theme continues. It's once more the calm before the storm, and we hear the snarling growls of Mikael's voice coming in once again, with some brilliant guitar riffs in the background. Again there's a real sense of unease here. It feels like we're building up to something. Then Mikael's demonic vocals are back in again, snarling the lyrics. This fades out, but the drums continue on, with a guitar with an effect, a lot quieter than before, continuing on this riff. This is a short section which ends with the riff ending on a loud distorted guitar. This then introduces yet another new theme to this track. This is still the demonic side of the band. Very heavy with growling vocals over the top. Then some punctuated strumming guitars, with a wailing guitar playing beneath this. It feels like another build up to something… It does go on for a little while, holding you in real suspense. But this is the outro, and the build up to the next track.

"Nocturnally helpless
And weak in the light
Depending on a prayer
Pacing deserted roads to find
A seed of hope"

9/10

**Hours Of Wealth - 5.20**

This track starts with a gentle acoustic guitar riff, and again I'm jealous, and want to play along with this. There's a sound like a flute, though I think it's the synths. Flute's always remind me of 70s prog, especially of bands like Camel (you'll know what I mean if you've heard Camel or The Snow Goose). The riff then changes, but we're still on an acoustic guitar. It's very beautiful, with a strings like section on the synth. It slowly builds up louder, before changing into another riff. It certainly reflects the more musical side of the band, and I can only describe it as beautiful. Then a change, and the vocals come in. This shows the beautiful side of Mikeal's voice that we saw on 'Damnation'. There is only a synth playing a chord here and there. There are some effects on the vocals, it sounds like reverb once again, and we also see layered up vocals in parts which again shows some depth to this song. My mum and my dad would like this track. It shows that these guys are real musicians, not just a bunch of guys bashing away on guitars to angst ridden teenage boys (and girls). There's a gorgeous guitar solo, but again it's not over the top, it just adds to the effect of beauty in this track. It reminds me of Eric Clapton for some reason, maybe it's the effect on the guitar rather than the playing or style. This certainly reflects their 70s influences that they so often mention in interviews.

"Looking through my window
I seem to recognise
All the people passing by
But I am alone
And far from home
And nobody knows me"

10/10

**The Grand Conjuration - 10.21**

This starts with guitars, bass and drums, strumming and punctuating, then enter the first riff. The drums are pounding, and you can hear the keys and some vocals beneath the guitar riff. It's very headbang worthy. It goes into a slightly quieter section continuing on the original theme. There is a swirling effect from what sounds like it could be a wailing guitar with effects. This then calms down into the verse. This is a strumming guitar, drums and Mikael's singing. This speeds up, and takes us into a new heavier section with the demonic hat being placed on Mikael's head. This quickly goes back into the verse which is of similar nature to the first, and back into the heavier section. There is real contrast between both sections. The first is smooth, the second is very punctuated. Then a very fast guitar riff is played. It sounds more like the solos you hear old metal bands playing, but again, this is a team playing band, and the solo is supported by the rest of the instruments. This introduces us to a new section, which has a feel of unease about it. A real feeling it's building up to something, and I'm not disappointed, as it does lead into a heavy section with more growling vocals. There is some great work on both guitars and drums, with very fast footwork from Lopez on his kick drums. Then the theme is continued quietly on synths. This gives another uneasy feeling, and again there's a reason, as heavy guitars and drums come back in and change the theme. Now into an instrumental which is very fast, and has Mikael growling "AHHH" over the top. The guitars exit briefly before a new theme comes in with more growling vocals, and then back to the theme before. Then it's left to the drums pounding away and the guitars. Then back to the very first theme to this track on the guitar. More headbanging is essential here! It breaks down and then into a verse like the first two we saw. The singing stops, and it's back to the first theme, and you can faintly hear snarling vocals which are kind of spooky. It's like being in a haunted wood. The guitars speed up, and we hear more whispered voices, before getting heavier. It gets heavier and heavier with the synths coming in. A growl, and we're at the end of the track, and hear a wailing guitar far away and some bongos.

"His orders in your mouth
A decree for domination
Beneath the tides of wisdom
Spins the undertow of hate"

10/10

**Isolation Years - 3.51**

And finally…

This track starts off with an acoustic guitar, with what sounds like reverb on it. Again a beautiful riff, and is swiftly accompanied by a second guitar, this time an electric guitar. Then enter drums and bass guitar. This brings us to the verse with angelic vocals. It's a slow track, but not remotely boring. There are some beautiful vocals in here as well as guitar sounds. It reminds me of Katatonia, though Mikael's voice is far better than Jonas of Katatonia (not that his voice is bad in any way, just Mikael has some of the best vocals I've ever heard). This is more of the kind of structure of song you'd expect from a normal band, rather than the obscure structures we've heard in previous tracks. But this track feels like it's over before it starts, maybe due to the fact that most Opeth songs are around the 10 minute mark. It does reflect 'Damnation' once again. There's nothing heavy in this track, but it another beautiful mellow piece.

"And isolation
Is all that would remain
"The wound in me is pouring out
To rest on a lover's shore""

9/10

-----Conclusion-----

Phew! So you'll all be wondering what I thought of this album? Well I think it's a fantastic CD that sees Opeth combining what they have already released, but there is definitely a continuing progression from the previous albums, especially with the introduction of Per on synths.

There are a few bits I would change, such as the end of Atonement, which I would have put onto a separate short track. But it does help the album flow perfectly. But other than that, there wasn't anything that I was unhappy about.

There was a great combination of both side of the band, the heavy, almost death metal side, and the more melodic progressive rock side. All musicians were spot on, with great support between each instrument, and not one weak point that I could hear. This is certainly a band that can play their instruments well, and show off the fact in their superb writing.

Though this isn't my favourite Opeth album (though it would be hard to narrow it down to one album anyway) it's certainly no let down, and there doesn't seem to be any interference from their new label. It gets a 10/10 from me, but I did warn at the beginning that I may be just a little biased :-P

I would recommend that you check out this album if you do like metal or progressive rock, and certainly a good album if you are a musician to listen to. Though I wouldn't advise to buy the album right now, as a limited version with extra tracks is due out very soon.

-----Other Information-----

For more information on Travis Smith go to http://www.seempieces.com

Price is dependant on the shop but you can find it for £9.99 on Amazon.

In the 2005 Terrorizer Awards, Opeth won: BEST BAND, BEST ALBUM (for 'Ghost Reveries'), BEST COVER ART (for 'Ghost Reveries'), BEST MUSICIAN (for Mikael) and BEST VOCALIST and came a close second for Personality of the Year (Mikael) and Best Live Act, both of which going to Iron Maiden. 

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