Obviously you don't know me. I have a theory-geek ear for music and critically analyze each song. I'm not just throwing things out there.
No, I don't know you, that's why my post didn't say "I bet
you can't hear the latin influences".
Ask Mikael about how both Lopez and Mendez brought latin influences to the songwriting, and you'll see how foolish your post is.
Obviously
Mikael would know - it's would be his music being influenced by the Martins. If there was a way
he could tell us and settle this... some kind of internet forum or something...
Mikael Åkerfeldt;8327567 said:
To be honest, Lopez or Mendez never brought latin music into Opeth apart from the occasional lick.
Well there ya go.
Anyway, Mike's ownage aside: My point is that it seems to me like a lot of people parrot this "Latin Influences" around a lot, without really understanding it. It's kinda the parrots that go "Cliff Burton is the bestestestest metal bassist EVAH!!11!1!1!11one". And can point no further than Anesthesia when asked to justify that statement.
And if you can't hear Lopez's latin beats with the tamboril on Closure, then you're deaf.
Did I ever say
I didn't hear it? Te falta comprensión de lectura...
(Fun fact: the snare/bass drum pattern in the last part of Closure are the basis of one of the currently most popular musical styles in latin music today, the reviled reggaeton

uke
OTOH, you have to admit that Closure is a pretty atypical Opeth song. The much-parroted "Latin Influences" usually boil down to the ride patterns that come up every now and then. (Rooted in arabic music, as Mike stated, but it's no surprise it's related to "latin" since the arabs actually ruled Spain for "a few" years...)