Favorite Moment(s) in an Opeth Song
- Thread starter saut
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Botfly
"I Am"
"look out profanity, here comes bangadrian and it looks like he's going for the 300 billion post count too" :Spin:
Profanity
The Post Master
For me the most memorable moment is when the bring back the drums at around 6:00 in Under the Weeping Moon. That riff is bloody intense.
I remember the first dozen times I heard it, I just stood there in shock.
I remember the first dozen times I heard it, I just stood there in shock.
--The sudden start of Godhead's lament''
--in the middle of the ''bleak'' the sound softens'n after the lyrics''
*help me, leave you
*so the the days are gone
a double guitar solo starts to come from a lwer sound tune to a highe sound tune. I really love this part of song ''bleak''
--in the middle of the ''bleak'' the sound softens'n after the lyrics''
*help me, leave you
*so the the days are gone
a double guitar solo starts to come from a lwer sound tune to a highe sound tune. I really love this part of song ''bleak''
Alcapoth
S t a r E
A top 5 greatest moments breakdown for each of opeth's albums; THE DEFINITIVE LIST!
O R C H I D
[1] In Mist She Was Standing: "Arrival..." + solo (4:15-5:10) - one of opeth's finest moments!
[2] In Mist She Was Standing: "Darkness encloses..." (7:15-9:30)
[3] The Twilight Is My Robe: "At the waters I dwell..." (7:45-9:00)
[4] The Twilight Is My Robe: 5:37-6:29
[5] The Apostle In Triumph: "The darkened oaks are my only shelter..." (5:06-6:30)
M O R N I N G R I S E (so many to name here)
[1] Black Rose Immortal: (4:13-6:02) "*acoustic after sound of water* ...over troubled waters where memories soar ...
[2] Black Rose Immortal: (7:28-8:55) "psychelic, kick-ass guitar work - probably opeth's finest guitar work imo, followed by a HIGHLY impressive solo"
[3] Black Rose Immortal: (yes, again!) (9:20-11:55) "*beginning with violin-like guitar effect*...Sunbirds leave their dark recesses..."
[4] Black Rose Immortal: (hey, the song is an epic! Gotta be honest here)
(12:22-14:45) "...the amaranth symbol..." - one of opeth's finest moments!
[5] To Bid You Farewell: (7:04-end) "Devotion eludes and in sadness I lumber..."
MY ARMS, YOUR HEARSE (my choice for best album)
[1] The Amen Corner: (3:14-6:38) "*acoustic* It was the only task I would undertake...The celestial touch..."
*STRONGLY believe to be opeth's CROWNING moment - best three minutes I have ever heard*
[2] April Ethereal: (6:45-7:29) "Rain was waving goodbye..."
[3] Demon of the Fall: (4:28-the end) "Run away, run away....just one second..."
[4] When: (2:56-5:02) "*acoustic* So there I was. Within the sobriety of the immortals..."
[5] Epilogue: (a fantastic way to close an already phenomenal album)
S T I L L L I F E
[1] Godhead's Lament: (3:44-6:52) "*acoustic part*....what would they care if I did stay..." - one of the best opeth moments ever!
[2] The Moor: (7:21-10:04) - dammit, the best moment in the best song on the album!
[3] The Moor: (4:58-6:00) "Pale touch, writhing in the embers...."
[4] The Moor: (6:00-6:58) "Outcast with dogmas forged below" - fuck! totally love how this part just kicks in...
[5] Moonlapse Vertigo: (1:56-) "kept warm, by the light of the lantern"...pure jazz - love the acoustics and the vocals!
BLACKWATER PARK
[1] Bleak: (3:09-5:40) "Devious movement in your eyes...*followed by brilliant acoustic moment that is beautifully atmospheric" - one of opeth's finest moments! The guitar melody in the background plus the painstakingly KILLER vocal harmonies - perfect! And the solo - just FUCK!
[2] The Drapery Falls: INTRO + OUTRO - nuff said right there! Just gives me the chills.
[3] The Drapery Falls: (6:10-8:30) Damn, what a transition - the guitar riff is just absolutely killer as we wait for the INTENSE growling of Mike's vocals to come in rounding up a fucking powerful climax! ("INNOCENCE!!!") It gets only better upon the FLAWLESS transition to acoustic and clean vocals. Sheer perfection.
[4] The Leper Affinity: (2:14-3:13) Holy crap I love the way this part kicks in. The guitar man! "Fever mirrored ghosts......" + *killer solo*
[5] The Leper Affinity: (4:06-5:38) What....a....moment! Heroic, is all I have to say about this tune! And the clean vocals, holy fucking shit! "Looooost, are days of spring...." Beautiful!
Deliverance & Damnation are both coming soon.
O R C H I D
[1] In Mist She Was Standing: "Arrival..." + solo (4:15-5:10) - one of opeth's finest moments!
[2] In Mist She Was Standing: "Darkness encloses..." (7:15-9:30)
[3] The Twilight Is My Robe: "At the waters I dwell..." (7:45-9:00)
[4] The Twilight Is My Robe: 5:37-6:29
[5] The Apostle In Triumph: "The darkened oaks are my only shelter..." (5:06-6:30)
M O R N I N G R I S E (so many to name here)
[1] Black Rose Immortal: (4:13-6:02) "*acoustic after sound of water* ...over troubled waters where memories soar ...
[2] Black Rose Immortal: (7:28-8:55) "psychelic, kick-ass guitar work - probably opeth's finest guitar work imo, followed by a HIGHLY impressive solo"
[3] Black Rose Immortal: (yes, again!) (9:20-11:55) "*beginning with violin-like guitar effect*...Sunbirds leave their dark recesses..."
[4] Black Rose Immortal: (hey, the song is an epic! Gotta be honest here)
(12:22-14:45) "...the amaranth symbol..." - one of opeth's finest moments!
[5] To Bid You Farewell: (7:04-end) "Devotion eludes and in sadness I lumber..."
MY ARMS, YOUR HEARSE (my choice for best album)
[1]
The Amen Corner: (3:14-6:38) "*acoustic* It was the only task I would undertake...The celestial touch..."*STRONGLY believe to be opeth's CROWNING moment - best three minutes I have ever heard*
[2] April Ethereal: (6:45-7:29) "Rain was waving goodbye..."
[3] Demon of the Fall: (4:28-the end) "Run away, run away....just one second..."
[4] When: (2:56-5:02) "*acoustic* So there I was. Within the sobriety of the immortals..."
[5] Epilogue: (a fantastic way to close an already phenomenal album)
S T I L L L I F E
[1] Godhead's Lament: (3:44-6:52) "*acoustic part*....what would they care if I did stay..." - one of the best opeth moments ever!
[2] The Moor: (7:21-10:04) - dammit, the best moment in the best song on the album!
[3] The Moor: (4:58-6:00) "Pale touch, writhing in the embers...."
[4] The Moor: (6:00-6:58) "Outcast with dogmas forged below" - fuck! totally love how this part just kicks in...
[5] Moonlapse Vertigo: (1:56-) "kept warm, by the light of the lantern"...pure jazz - love the acoustics and the vocals!
BLACKWATER PARK
[1] Bleak: (3:09-5:40) "Devious movement in your eyes...*followed by brilliant acoustic moment that is beautifully atmospheric" - one of opeth's finest moments! The guitar melody in the background plus the painstakingly KILLER vocal harmonies - perfect! And the solo - just FUCK!
[2] The Drapery Falls: INTRO + OUTRO - nuff said right there! Just gives me the chills.
[3] The Drapery Falls: (6:10-8:30) Damn, what a transition - the guitar riff is just absolutely killer as we wait for the INTENSE growling of Mike's vocals to come in rounding up a fucking powerful climax! ("INNOCENCE!!!") It gets only better upon the FLAWLESS transition to acoustic and clean vocals. Sheer perfection.
[4] The Leper Affinity: (2:14-3:13) Holy crap I love the way this part kicks in. The guitar man! "Fever mirrored ghosts......" + *killer solo*
[5] The Leper Affinity: (4:06-5:38) What....a....moment! Heroic, is all I have to say about this tune! And the clean vocals, holy fucking shit! "Looooost, are days of spring...." Beautiful!
Deliverance & Damnation are both coming soon.
saut said:
I think its just perfect. Its like with GY!BE's East Hastings. The most memorable part is the restrained first buildup and the starting of the second. It just kind loses its impact when the go all out. For me its much more impressive when it feels like they've got a monster reined up rather than raging around.
Ermz
¯\(°_o)/¯
After Alcapoth's post I started listening to The Amen Corner again. It pisses me off how incorrect that tab I used was in regards to alot of the track... in particular the solos. I'd actually salvaged Mike's solo using my own ears, but I got lazy with Peter's coz his tend to be inferior anyway, but so many of the notes I played in the cover just either aren't there or are but played at different intervals.
Alcapoth
S t a r E
TheApostle said:
I know, I know...I guess a top 5 for each album just doesn't give any justice at all. I struggled like hell with this, and because BRI is filled with such bliss (c'mon, those parts I mentioned are undeniably genius!) I just couldn't help but list them.
Trust me, I LOVE Nectar. Hell, Advent has some spectacular stuff as well. Let's put it this way, just because parts were not mentioned doesnt' mean I don't embrace them. The 5 I listed just so happen to be most meaningful.
But dammit, yes - yes, you are so right. Nectar DOES have a SUPERIOR moment that deserves mention from me even if it doesn't make the 5.
Bring me through
Carry my empty shadow
And guide me inside your warped labyrinth
To the well of sin
I swear I will always love you
Gives me the chills just thinking of this moment...damn, I gotta pop this song on right now actually. Particularly when he screams out "I will always love you!" always sends a shudder down my spine.
Hell, this can very well tie in for fourth place then, lol (gotta fit it somewhere.)&
In the wake of dawn
The mist of morning linger before it leaves
Invisible eyes, red reflection
It is you
Smiling in the midst of the moor
I just LOVE the way the guitar work plays around the vocal melodies here - bloody-fucking-tastic!
- Nectar's BEST moments.
Lastly, IF the part I mentioned off The Amen Corner is NOT the best part, please someone tell me, what is? Honestly, the intro isn't that good and didn't really ever do anything for me but when the vocals kick-in, it starts moving nicely. After the brilliant climactic middle part, the song goes downhill slightly again. I don't really like the way it ended. So basically, the song with opeth's greatest moment isn't actually nowhere near the list for best song overall just because of the intro and ending. Too bad....still, I give it a 4/5.
Final two albums;
DELIVERANCE
[1] A Fair Judgement: (3:50-solo*6:20) "*acoustic*...leave it be, it was meant for me..." Definitely among opeth's finest moments. Excellent vocals right here - elegant and just very emotive.
[2] By The Pain I see In Other's: (8:00-end) "...move in me and set me free..." This whole moment is just brutal and very powerful and just LOVE how it kicks in from the acoustic, which was put in good use, even if it was fairly brief. Right now, my favourite track on the album.
[3] Deliverance: (4:43-7:35) "The piercing sounds you make....biding time, locked inside insanity..." This moment is just both beautiful and then pure brutal. I fucking love it! I love the vocal harmony of the clean vocals - so catchy and well done. When the distorted vocals kick in, the moment is just totally turned into something truly kick-ass. The combination of the two is what makes it work.
[4] Master's Apprentices: (3:54-6:00) Many EXCELLENT parts here in these two minutes. "Soothing trance, colours fade and disappear......there is only me, I take what I can! *acoustic, psychedlic-like solo nothing short of fucking brilliance!* And it ends...amazing moment and the best of the song.
[5] Wreath: The best part HANDS-DOWN is the melodic guitar beginning at 1:47 and plays again later on in the song. Then, the vocals kick-in which are some of the best on the album. Some memorable lines for me are "endless NIGHT!!!!!!" "There is NO ABSOLUTION!" Amazing stuff right there. Too bad the song has a poor intro and outro of the same tune. Nothing terrible, it just doesn't connect with me. I like the melodic stuff.
DAMNATION
[1] In My Time of Need: (0:43-) Beginning right at "...summer is miles and miles away" - "And I should contemplate this change to ease the pain" = some of the best vocal work I have heard in terms of clean vocals. Simply superb work! EXCELLENT solo is worth mentioning as well soon after....
[2] Windowpane: (2:24-3:35) Holy shit I love the way this part comes in - SO surreal and kinda trippy. I just get totally lost in this tune right here, it just THAT FUCKING GOOD! And then Mike's vocals come in which are just incredible (I'm running out of words here); "...inside plays a lullaby, slurred voice over children cries, on the iniiiiiide...." Good stuff!
[3] To Rid the Disease: (2:40-) "There's innocence torn from its maker....this failure has made the creator..." Lyrics of perfection! This part is sooooo fucking great and makes it even greater by ending with a killer solo. Hell yeah!
[4] Windowpane: (4:38-5:50) SOLO! And damn, what an amazing one. BY FAR the best solo on the album and perhaps one of Mike's best solos of this kind ever! This is the best song on the album, overall - it all just works together so well. Solos, overall great guitar melodies, amazing vocal work, etc.
[5] Ending Credits: All of it. The whole tune is just one kick-ass jam-fest. The melody is simply breathtaking and takes you back to the old days. Sounds VERY nostalgic to me, due to it's old-fashioned feel.
Slynt
Lord and Liar
Pseud0
New Metal Member
Slynt
Lord and Liar
Allright, I have to add my five favorite moments per album.
ORCHID
1. "In Mist She was Standing" (00:00 - 02:20)
Back when it was released, this was simply groundbreaking. The album opens with melodic, at times upbeat, melodies, and continues to pour out different and exciting bits of melody, somewhere between Iron Maiden and progressive rock but with a sound that foreshadows brutality to come. And it just goes on... few bands would kick off their debut album with two minutes without vocals. And when the vocals first appear, Mikael is singing "aaah, aah". Really not what you'd expect. And then, at 02:20, the best death metal growler in the universe shows just how extremely cool it is with this kind of music smitten with death metal vocals (Yes, I prefer the earlier style of the band).
2. "The Twilight is My Robe" (05:44 - 06:29)
An unexpected part with only bas and drums, pretty lightweight and not very death metallish, is followed up by one of my favorite Opeth melodies. The drive in the twin guitars is great, it's such a likeable part. It's one of those catchier Opeth moments, which I find myself whistling now and then.
3. "The Apostle in Triumph" (01:58 - 02:28)
The part where the main guitars kick in for the first time in the song, and once again Opeth delivers a great melody. It gets even better at..
4. (03:51 - the rest of the song, really)
...with Mikael yelling his lungs out, the music getting heavier, a sad and entirely fitting solo, and a few more great melodies. They are just spewing out great melodies on this album. Amazing, amazing. I don't care people think 'Orchid' feels disjointed, it just means you aren't enough used to it
5. "Forest of October" (12:19 - end)
It's not the most complex acoustic part Opeth ever presented, but in it's simplicity there is much beauty When the second acoustic guitar adds harmony to the part, it is just nothing short of.. a forest in october.
MORNINGRISE
1. "Black Rose Immortal" (03:10 - 03:27)
A "Five best of.." would allow me to just list all songs, because there is almost nothing on 'Morningrise' that I don't love. 'Black Rose Immortal' has many amazing parts though. This is one of my favorites, the break between a folk-like melodic part and the next more brutal part. It's such a fucking cool way to bridge the two parts, it's so full of wicked energy, everytime I hear it I want to go bananas. And sometimes I do.
2. "Black Rose Immortal" (13:39 - 14:43)
The amaranth symbol...oh the beauty of Opeth.. 'nuff said.
3. "Advent" (02:50 - 04:22)
Lips try to form because.... Great growling, cool groove... Trying to adapt to the wilderness! Awesome. The following acoustic part is so cool, especially the bass almost wallowing back and forth, like a snake slithering through the river. Or something. It's really cool.
4. "To Bid You Farewell" (00:00 - 02:50)
The quiet fade-in leads to a few minutes of unparallelled beauty; serene melodies with a touch of darkness. Eerily beautiful and always interesting (unlike many other "metal ballads").
5. "The Night and the Silent Water" (00:54 - 02:20)
...and so you left us, jaded and gaunt, some September... the verse starts with a bang (or rather, a great growl), followed by a harmonic and beautiful verse. Some people think it is "too happy", but I don't feel that. It's just amazingly cool and very different from the rest of the album IMO.
MY ARMS YOUR HEARSE
1. "April Ethereal" (00:00 - 01:50)
...oooooh..... BAM! The way April Ethereal just explodes into being still remains Opeth's most energetic moment in my ears. They never recaptured that brutal magic. There is something almost unholy, partially because of the production, but also because of the chords, the rhythm... when Mikael begins his infamous line, ...it was me, peering through the looking glass..., you just KNOW you're in for one hell of a ride. Brutal and poetic. Damn, the whole song is just awesome.
2. "When" (00:00 - 01:23)
Another opening slamming right into your soul. From the eerie, acoustic opening via Mikael's sudden growl bursting through the speakers, and into the first part of the song, Opeth manages to continue the energy from 'April Ethereal' (before it goes missing for a few songs), and gave me with song a great trick to pull on people not familiar with this kind of music. Putting on 'When' and watch them recoil as the growl and everything sets in ... priceless
3. "Demon of the Fall" (04:28 - 06:07)
A wondrously sad melody, with wondrously sad vocals on top - a great and perhaps unexpected way to end a song which up 'til this part is pretty brutal. When the second guitar begins following the first guitar's melody, I get goosebumps all over (05:39). No wonder it has been the group's encore all these years.
4. "The Amen Corner" (03:13 - 05:32)
A beautiful acoustic part, especially the delicate solo on top it (03:29), which is followed by a bombastic and haunting melody. Epic. It was the only task I would..undertake.... Fucking metal!!
5. "Credence" (04:02 - 05:24)
Love it for it's simple yet effective melody, a quiet statement at the end of the tune.
STILL LIFE
1. "The Moor" (02:30 - 04:26)
As the long intro finally comes to and end, Still Life showcases a new and improved sound, where technical riffs, intricate drumwork, and a blend of heavy guitars and acoustic guitars go all the way to top My Arms Your Hearse. Wether it did or not is another question entirely. For me, The Moor starts here with a bang and does not let go until it ends. A fantastic song, probably my fave Opeth tune. There is a lot of Camel in this song, and it gels so nicely with Opeth's crunchier side. With the first growl, and the subsequent ... the sight of summer... I can do nothing but headbang in total worship.
2. "Serenity Painted Death" (02:11 - 02:46)
I am one of those (few?) fans who do not embrace Mikael's choice of going all growly - I think the "howling" variant gave Opeth a fantastic edge of desperation on albums such as My Arms Your Hearse. In this part, however, Mikael's dark growls are extremely effective and make it such a memorable and cool part. Maybe because not ALL the vocals on this album are as gurgly.
3. "Face of Melinda" (02:56 - 03:25)
I remember when Still Life was released, I was desperately in love with a girl. Being shy, I rather spent the days listening to this song than going out to actually try and meet her I kept playing this song over and over, and this particular part (the second chorus) is just so .. haunting, so beautiful. There is longing there hehehe. For the record, we have been together since shortly after that time period
4. "Godhead's Lament" (01:42 - 02:26)
Another part where the gurglier death vocals are effective. Very cool and groovy part! Man I love this band.
5. "Serenity Painted Death" (01:33 - 02:07)
Another groovy headbanging fuck all part. With monster vocals again.. hehe. Melinda reflected in shafts! Nuff said. A very close runner-up to this part is the final part of Moonlapse Vertigo, the clean vocal thingy, but I dislike (kind of) the rest of that song so..
BLACKWATER PARK
1. "The Leper Affinity" (02:11 - 02:41)
To be honest, there is little on Blackwater Park I like the way I like the rest of Opeth's discography. I'm not sure why. This part however I find the coolest on the entire disc, it's just a cool piece. However, even in these 30 seconds the group showed some stagnation (notice how the rhythms are taken straight from My Arms Your Hearse). I am so happy their next album made up for it.
2. "Dirge for November" (00:00 - 01:42)
Beautiful intro, very dark and sad yet clearly inspired by Camel. Very nice and I wish the rest of the song was a little faster, the contrast should have been more stark, IMO.
3. "Bleak" (00:00 - 02:49)
I feel that this song is the odd one out in the Opeth discography, because it's so catchy. The closest Opeth ever came to a hit? The opening minutes are quite cool, heavy as fuck and though simplistic for Opeth standards, still one of the album's best parts.
4. "The Drapery Falls" (07:47 - 08:42)
A beautiful part with beautiful vocals that should have been the core of an acoustic song onto itself. Once again I feel that when the prog rock influences are most clear, Opeth is at its best - in contrast to much of the album which feels way too "rocky" if you get my message.
5. There really is nothing else I like on the "Opeth-level of likingness".
DELIVERANCE
1. "Deliverance" (01:14 - 02:54)
After the first eleven minutes of brutality, Opeth return to form with a fantastic, calm part with a fresh rhythm and a wondrously good vocal melody. The sudden break back to metal before continuing the calm part is cool, but feels a little gimmicky. Tell me how ... The way he sings "how", so good. ..As I drown you in the sea ... eerie and Opethish.
2. "Master's Apprentices" (04:56 - 07:53)
The clean vocals on top of the heavy riff, the clean vocals continuing ...into death... then the totally out-of-the-song's-style progrock part. First time I heard it I thought it was a too sudden change in the song's structure, now I love it. The return to brutality with Mikael's argueably coolest growled sentence is wonderful, especially cool live.
3. "By the Pain I See in Others" (01:19 - 02:38)
Acoustic death circus. Very unusual and thus refreshing. Another odd song from Opeth but still heavy and cool. Spooky.
4. "A Fair Judgement" (03:55 - 05:20)
The subdued acoustic guitar, baroque-style, leading up to ... leave it be, it was meant for me... soul sacrifice...forgot the advice... is just fantastic. It is such a cool build-up without getting all heavy, and for once I hear some sense in the cooperation between Opeth and Steve Wilson.
5. "Wreath" (00:00 - 01:10)
Drumroll. Growl! Hard-hitting riff and weird rhythm - Opeth is back! After the lacklustre Blackwater Park the band returns to my open arms with a heavy punch, and I love the beating.
DAMNATION
1. "In My Time of Need" (00:54 - 01:27)
A beautiful song with a beautiful, catchy chorus.
2. "Windowpane" (01:46 - 03:10)
Might be waiting for someone... This second verse is just cool. Love the double vocals, the moog entering the soundscape, and the following melody (02:23).
3. "Ending Credits" (all of it)
The whole thing is bloody beautiful and catchy and interesting.
4. "Death Whispered a Lullaby" (01:39 - 02:10)
A very dark title for a relatively nice tune. I'm particularly fond of the second verse, where the song has gained momentum. Very good vocals from Mikael. ...there are eyelids closing... is a particularly good example of this.
5. "Closure" (00:00-01:08)
The beginning of this song is very cool, Mikael sounds so hurt, somebody probably called him something naughty the day they recorded it. The melody is excellent in this part, a shame the rest of the song has no way of keeping the same high standard - it kinda degenerates into an acoustic version of some of the heavy parts from Still Life.
and now....
I CAN'T WAIT
FOR
GHOST REVERIES...
ORCHID
1. "In Mist She was Standing" (00:00 - 02:20)
Back when it was released, this was simply groundbreaking. The album opens with melodic, at times upbeat, melodies, and continues to pour out different and exciting bits of melody, somewhere between Iron Maiden and progressive rock but with a sound that foreshadows brutality to come. And it just goes on... few bands would kick off their debut album with two minutes without vocals. And when the vocals first appear, Mikael is singing "aaah, aah". Really not what you'd expect. And then, at 02:20, the best death metal growler in the universe shows just how extremely cool it is with this kind of music smitten with death metal vocals (Yes, I prefer the earlier style of the band).
2. "The Twilight is My Robe" (05:44 - 06:29)
An unexpected part with only bas and drums, pretty lightweight and not very death metallish, is followed up by one of my favorite Opeth melodies. The drive in the twin guitars is great, it's such a likeable part. It's one of those catchier Opeth moments, which I find myself whistling now and then.
3. "The Apostle in Triumph" (01:58 - 02:28)
The part where the main guitars kick in for the first time in the song, and once again Opeth delivers a great melody. It gets even better at..
4. (03:51 - the rest of the song, really)
...with Mikael yelling his lungs out, the music getting heavier, a sad and entirely fitting solo, and a few more great melodies. They are just spewing out great melodies on this album. Amazing, amazing. I don't care people think 'Orchid' feels disjointed, it just means you aren't enough used to it
5. "Forest of October" (12:19 - end)
It's not the most complex acoustic part Opeth ever presented, but in it's simplicity there is much beauty
When the second acoustic guitar adds harmony to the part, it is just nothing short of.. a forest in october. MORNINGRISE
1. "Black Rose Immortal" (03:10 - 03:27)
A "Five best of.." would allow me to just list all songs, because there is almost nothing on 'Morningrise' that I don't love. 'Black Rose Immortal' has many amazing parts though. This is one of my favorites, the break between a folk-like melodic part and the next more brutal part. It's such a fucking cool way to bridge the two parts, it's so full of wicked energy, everytime I hear it I want to go bananas. And sometimes I do.
2. "Black Rose Immortal" (13:39 - 14:43)
The amaranth symbol...oh the beauty of Opeth.. 'nuff said.
3. "Advent" (02:50 - 04:22)
Lips try to form because.... Great growling, cool groove... Trying to adapt to the wilderness! Awesome. The following acoustic part is so cool, especially the bass almost wallowing back and forth, like a snake slithering through the river. Or something. It's really cool.
4. "To Bid You Farewell" (00:00 - 02:50)
The quiet fade-in leads to a few minutes of unparallelled beauty; serene melodies with a touch of darkness. Eerily beautiful and always interesting (unlike many other "metal ballads").
5. "The Night and the Silent Water" (00:54 - 02:20)
...and so you left us, jaded and gaunt, some September... the verse starts with a bang (or rather, a great growl), followed by a harmonic and beautiful verse. Some people think it is "too happy", but I don't feel that. It's just amazingly cool and very different from the rest of the album IMO.
MY ARMS YOUR HEARSE
1. "April Ethereal" (00:00 - 01:50)
...oooooh..... BAM! The way April Ethereal just explodes into being still remains Opeth's most energetic moment in my ears. They never recaptured that brutal magic. There is something almost unholy, partially because of the production, but also because of the chords, the rhythm... when Mikael begins his infamous line, ...it was me, peering through the looking glass..., you just KNOW you're in for one hell of a ride. Brutal and poetic. Damn, the whole song is just awesome.
2. "When" (00:00 - 01:23)
Another opening slamming right into your soul. From the eerie, acoustic opening via Mikael's sudden growl bursting through the speakers, and into the first part of the song, Opeth manages to continue the energy from 'April Ethereal' (before it goes missing for a few songs), and gave me with song a great trick to pull on people not familiar with this kind of music. Putting on 'When' and watch them recoil as the growl and everything sets in ... priceless
3. "Demon of the Fall" (04:28 - 06:07)
A wondrously sad melody, with wondrously sad vocals on top - a great and perhaps unexpected way to end a song which up 'til this part is pretty brutal. When the second guitar begins following the first guitar's melody, I get goosebumps all over (05:39). No wonder it has been the group's encore all these years.
4. "The Amen Corner" (03:13 - 05:32)
A beautiful acoustic part, especially the delicate solo on top it (03:29), which is followed by a bombastic and haunting melody. Epic. It was the only task I would..undertake.... Fucking metal!!
5. "Credence" (04:02 - 05:24)
Love it for it's simple yet effective melody, a quiet statement at the end of the tune.
STILL LIFE
1. "The Moor" (02:30 - 04:26)
As the long intro finally comes to and end, Still Life showcases a new and improved sound, where technical riffs, intricate drumwork, and a blend of heavy guitars and acoustic guitars go all the way to top My Arms Your Hearse. Wether it did or not is another question entirely. For me, The Moor starts here with a bang and does not let go until it ends. A fantastic song, probably my fave Opeth tune. There is a lot of Camel in this song, and it gels so nicely with Opeth's crunchier side. With the first growl, and the subsequent ... the sight of summer... I can do nothing but headbang in total worship.
2. "Serenity Painted Death" (02:11 - 02:46)
I am one of those (few?) fans who do not embrace Mikael's choice of going all growly - I think the "howling" variant gave Opeth a fantastic edge of desperation on albums such as My Arms Your Hearse. In this part, however, Mikael's dark growls are extremely effective and make it such a memorable and cool part. Maybe because not ALL the vocals on this album are as gurgly.
3. "Face of Melinda" (02:56 - 03:25)
I remember when Still Life was released, I was desperately in love with a girl. Being shy, I rather spent the days listening to this song than going out to actually try and meet her
I kept playing this song over and over, and this particular part (the second chorus) is just so .. haunting, so beautiful. There is longing there hehehe. For the record, we have been together since shortly after that time period 4. "Godhead's Lament" (01:42 - 02:26)
Another part where the gurglier death vocals are effective. Very cool and groovy part! Man I love this band.
5. "Serenity Painted Death" (01:33 - 02:07)
Another groovy headbanging fuck all part. With monster vocals again.. hehe. Melinda reflected in shafts! Nuff said. A very close runner-up to this part is the final part of Moonlapse Vertigo, the clean vocal thingy, but I dislike (kind of) the rest of that song so..
BLACKWATER PARK
1. "The Leper Affinity" (02:11 - 02:41)
To be honest, there is little on Blackwater Park I like the way I like the rest of Opeth's discography. I'm not sure why. This part however I find the coolest on the entire disc, it's just a cool piece. However, even in these 30 seconds the group showed some stagnation (notice how the rhythms are taken straight from My Arms Your Hearse). I am so happy their next album made up for it.
2. "Dirge for November" (00:00 - 01:42)
Beautiful intro, very dark and sad yet clearly inspired by Camel. Very nice and I wish the rest of the song was a little faster, the contrast should have been more stark, IMO.
3. "Bleak" (00:00 - 02:49)
I feel that this song is the odd one out in the Opeth discography, because it's so catchy. The closest Opeth ever came to a hit? The opening minutes are quite cool, heavy as fuck and though simplistic for Opeth standards, still one of the album's best parts.
4. "The Drapery Falls" (07:47 - 08:42)
A beautiful part with beautiful vocals that should have been the core of an acoustic song onto itself. Once again I feel that when the prog rock influences are most clear, Opeth is at its best - in contrast to much of the album which feels way too "rocky" if you get my message.
5. There really is nothing else I like on the "Opeth-level of likingness".
DELIVERANCE
1. "Deliverance" (01:14 - 02:54)
After the first eleven minutes of brutality, Opeth return to form with a fantastic, calm part with a fresh rhythm and a wondrously good vocal melody. The sudden break back to metal before continuing the calm part is cool, but feels a little gimmicky. Tell me how ... The way he sings "how", so good. ..As I drown you in the sea ... eerie and Opethish.
2. "Master's Apprentices" (04:56 - 07:53)
The clean vocals on top of the heavy riff, the clean vocals continuing ...into death... then the totally out-of-the-song's-style progrock part. First time I heard it I thought it was a too sudden change in the song's structure, now I love it. The return to brutality with Mikael's argueably coolest growled sentence is wonderful, especially cool live.
3. "By the Pain I See in Others" (01:19 - 02:38)
Acoustic death circus. Very unusual and thus refreshing. Another odd song from Opeth but still heavy and cool. Spooky.
4. "A Fair Judgement" (03:55 - 05:20)
The subdued acoustic guitar, baroque-style, leading up to ... leave it be, it was meant for me... soul sacrifice...forgot the advice... is just fantastic. It is such a cool build-up without getting all heavy, and for once I hear some sense in the cooperation between Opeth and Steve Wilson.
5. "Wreath" (00:00 - 01:10)
Drumroll. Growl! Hard-hitting riff and weird rhythm - Opeth is back! After the lacklustre Blackwater Park the band returns to my open arms with a heavy punch, and I love the beating.
DAMNATION
1. "In My Time of Need" (00:54 - 01:27)
A beautiful song with a beautiful, catchy chorus.
2. "Windowpane" (01:46 - 03:10)
Might be waiting for someone... This second verse is just cool. Love the double vocals, the moog entering the soundscape, and the following melody (02:23).
3. "Ending Credits" (all of it)
The whole thing is bloody beautiful and catchy and interesting.
4. "Death Whispered a Lullaby" (01:39 - 02:10)
A very dark title for a relatively nice tune. I'm particularly fond of the second verse, where the song has gained momentum. Very good vocals from Mikael. ...there are eyelids closing... is a particularly good example of this.
5. "Closure" (00:00-01:08)
The beginning of this song is very cool, Mikael sounds so hurt, somebody probably called him something naughty the day they recorded it. The melody is excellent in this part, a shame the rest of the song has no way of keeping the same high standard - it kinda degenerates into an acoustic version of some of the heavy parts from Still Life.
and now....
I CAN'T WAIT
FOR
GHOST REVERIES...
Maggot9
Amon Amarth Viking
Darkhammer
Member
