because it's too different from your little opinion on the band Opeth ?Most hodgepodge list I've seen thus far ^
because it's too different from your little opinion on the band Opeth ?Most hodgepodge list I've seen thus far ^
Moreso cause you ranked Morningrise, but for some reason didn't rank Orchid, MAYH nor Still Life, which I found to be odd. Overall it's not so different from my opinion on them, I also don't care much for Watershed/Heritage.because it's too different from your little opinion on the band Opeth ?
I think Opeth, the genuine musical concept and identity of "Opeth", really starts with Blackwater Park, everything before that is fairly interchangeable and negligible. Every song has 50 parts, some clean some distorted... it's just Akerfeldt finding himself as a composer. It's vague, melancholic but mushy, on the epic side but forgettable... There were other such Scandinavian melodic/prog bands like Edge of Sanity, easily more interesting. The definitive entity that we've known as Opeth doesn't start until after the new millennium.Moreso cause you ranked Morningrise, but for some reason didn't rank Orchid, MAYH nor Still Life, which I found to be odd. Overall it's not so different from my opinion on them, I also don't care much for Watershed/Heritage.
I think Opeth, the genuine musical concept and identity of "Opeth", really starts with Blackwater Park, everything before that is fairly interchangeable and negligible. Every song has 50 parts, some clean some distorted... it's just Akerfeldt finding himself as a composer.
I think Opeth, the genuine musical concept and identity of "Opeth", really starts with Blackwater Park, everything before that is fairly interchangeable and negligible. Every song has 50 parts, some clean some distorted... it's just Akerfeldt finding himself as a composer. It's vague, melancholic but mushy, on the epic side but forgettable... There were other such Scandinavian melodic/prog bands like Edge of Sanity, easily more interesting. The definitive entity that we've known as Opeth doesn't start until after the new millennium.
I think the albums after Ghost Reveries are better composed than the earlier ones but equally irrelevant (bar a few good tracks) because again they're indulgent subjective musical wanderings from Akerfeldt and lack the focus and greater inspiration/purpose of music such as Blackwater or Deliverance.
“Nectar”, “Karma”, “Serenity Painted Death” and “White Cluster” masterful you say?
“Dirge for November” crushes all of these songs imo.
and yet you didn't rank two of the four albums before BWP, almost like you haven't heard them. one of those happens to be their most coherent and focused album, and both are far closer to BWP than to the style of the first two albums. i think if you took a poll from opeth fans albums 3+4 would probably win out as being considered their definitive records, along with BWP anyway, but personally i think it's kind of silly to call any of their albums definitive representations of their sound given they've always changed pretty substantially from album to album. BWP was definitely the beginning of a transition into a more 'mature' (read: boring, soulless, pompous) sound though.
“Nectar”, “Karma”, “Serenity Painted Death” and “White Cluster” masterful you say?
“Dirge for November” crushes all of these songs imo.
It's a mess. There are very few decent moments but it's mostly really mediocre and incoherent as never before.what do u guys think of Watershed tho
nothing on bwp is as awful as the latter two.
what do u guys think of Watershed tho
GR opens strong with Ghost of Perdition and Baying of the Hounds. Both are easily the best tracks on the album and both still sound like Opeth.Hmm, and whats your opinion guys on Ghost Reveries? Some consider it the apex of Opeth's musicianship, with their opinions based mainly on the opening track. I reckon it's pretty incoherent. But still quite good. Might want to revisit it tho.
I see. Perhaps I should give it a chance again but I really never saw much quality in any 90's Opeth music.Considering Lindgren wrote around half (if not more) of Orchid and Morningrise, their songwriting style as a band was always pretty much the same: writing 238462834 short sections and pasting them. When you also consider the fact that Lindgren wrote the main riff in Demon of the Fall (0:50), which ultimately became their signature sound, it's obvious that they always went for that style.
Akerfeldt probably wrote his best riffs somewhere around MAYH/Still Life. BWP onwards they got a bigger budget for production, which made a huge impact in their sound. If they had the BWP production on MAYH, it would probably be considered their best.