opeth_353
Member
Discovered them on Powertab. Mate d/l'd BWP when it came out.. i loved it.. bought Morningrise.. went from there.
I agree, the first time a friend of mine played me some Opeth I couldn't really understand what he was raving on about. I find Opeth albums need a few listens before they're really appreciated, and the more times you go back to them the more you discover. I'm quite new to Opeth and I'm trying not to get all the CDs at the same time My first album was Ghost Reveries, which Mrs. Heckelgruber bought for my birthday...Darkhammer said:eh, most of you where "instantly hooked" or immediately, most Opeth takes awhile and a few listens to settle in, i refuse to believe you heard them and where like "oh wow, thats great music" because at first, its not.
I'm just the same. I recently got back into metal and just discovered Opeth through Ghost Reveries after a bit of a Slayer phase...Loeben said:I have since got their entire collection. It's been awesome discovering this band for the first time - instead of how most people here listened to Opeth, I started with GR and walked back through their albums. I have to say that BWP is my favorite followed closely by MAYH. After I got a taste for their growls dude, I wanted more and more. And here I am posting on their forum... lol
steel102 said:On the AOL heavy metal message boards lots of people mentioned Opeth as an awesome metal band, so i got the songs "Hope Leaves" and "Credence" and was like metal?????
Then I got Bleak and then the rest of BWP and was like "oooohhh ok, so they are metal." However, BWP is not my favorite album now.
I must say that I was instantly hooked. But then again, I was very much into the swedish death metal scene at the time. It was in 1995 when Opeth had just released Orchid that a friend of mine visited me and had brought his latest find. He put it in my cd player and started playing "The Twilight Is My Robe". And as I said, I instantly fell in love with it and bought CD the first chance I had. "Morningrise" I also didn't have any problems getting into, but "My Arms Your Hearse" did take a while for me to really like.Darkhammer said:eh, most of you where "instantly hooked" or immediately, most Opeth takes awhile and a few listens to settle in, i refuse to believe you heard them and where like "oh wow, thats great music" because at first, its not.
I was very excited by this review and bought Still Life straight away. Naturally, I was blown away .....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.