Bollocks. Ghost Reveries in itself was flawless in it's creativity (to me at least) and Watershed is a new direction, which shows that Akerfeldt isn't running low on inspiration or creativity. Having said that though, my favourite album is Still Life, I just think that Akerfeldt is one of the exceptions to this theory you've brought up.
I think Opeth has steadily declined since Still Life.
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flawless in it's creativity? in essence it's just a combination of deliverance and damnation with dropped tuned guitars...
cant really rate opeth albums OBJECTIVELY since they are all different, its just each to his own except for perhaps their first two records which are "underground"
this made me laugh.
Objectively: Every opeth record differs from each other with the exception of the first two perhaps, GR is NOT similar to damnation and deliverance, you should listen a bit more to perdition, hounds and especially mire.
Damnation is sort of psychadelic
deliverance is sort of raw and heavy, little subletly much brutality
GR is not like that at all.
Tash
like this with the devil
damnation is not really psychedelic, it just uses lots of keys and lots of weird keyboard effects... deliverance was pretty brutal sure.
what do you get when you combine them? a semi brutal semi mellow album with lots of keys (GR).
there's a clear change in style between morningrise and MAYH, between MAYH and SL, and between SL and BWP. there is NOTHING on GR that opeth hadn't already done better in previous albums.
i'm really not trying to flame here, it's my honest opinion.
what do you get when you combine them? a semi brutal semi mellow album with lots of keys (GR).
there's a clear change in style between morningrise and MAYH, between MAYH and SL, and between SL and BWP. there is NOTHING on GR that opeth hadn't already done better in previous albums.
i'm really not trying to flame here, it's my honest opinion.
^ Ok if that's your opinion, what do you think of the transition from GR to Watershed? They are completely different, and in my eyes its the biggest musical shift between Opeth records since Morningrise and MAYH. So do you think that Opeth's creativity has dimmed lately when you take that in to consideration?
Earlier I think you said:
Earlier I think you said:
i don't know exactly what to think about watershed honestly... it's a step in the right direction, but i do feel as though it's "diversity" is not it's strong point. opeth's classic albums, SL, BWP, MAYH... they all had a consistent feel/theme throughout the album, yet they're still considered diverse albums because they're unique and experimental. on the other hand, watershed is very inconsistent in it's general feel (shifting from acoustic song to straight up death metal to 70's prog worship ballad to porcelain heart... wtf? see what i mean?). watershed's individual songs are diverse (even a bit on the eclectic side), but as a collection of songs i think watershed doesn't entirely hit the mark.
GR relies on heavily complex rhythm? give me a break... still life is much more intricate in it's rhythm. try to play (on guitar) a song from GR and a song from still life... the difference is like night and day.
You know what? To a certain point, I agree. The shifts in style between songs can be quite a lot to take in. However, that's not what I was saying. I said that Opeth had not lost some of their creativity, which you said they had. Your post confirms what I said. These shifts in style and feel (though with a coherent atmosphere) are indicitive of a creative mind, not an uninspired one. Opeth is not just rehashing past albums on Watershed, but going in a completely new direction.
BlueSky
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Take Baying of the Hounds for example main verse 1234 124 1234, 1234 123 1234, 1234 123 1234, 123456 123, switching from patterns of 4 to 3 all while making it catchy, and easy to move your head to for the average listener. Then there are sections like after the chromatic scale where it goes into heavy pocket grooves. Practically all the songs have weird times changes, odd stop start riffs, and heavy groove sections. Why the hell do you think they lowered their tunings? Because the album is more about the percussive aspect than the actual notes, which is easier to accomplish on lower tunings smartass.
Wow,
I just love how whenever someone posts their opinion about an Opeth album(s) they get flamed and all of the fan boys get extremely upset and offended. Then all of the 'fans' come out of hiding and post "I think all their albums are great etc etc", and the offended kids come out with "and you wasted your time typing that why?"
Its the same posts over and over again....sheesh. Yeah, Opeth are amazing, but that doesn't mean that everyone is going to think that every Opeth album is incredible. If you do....GOOD FOR YOUIf you don't...GOOD FOR YOU!
Live and let live son
nice post.... NOT
good fucking lord, there is absolutely nothing complex about anything you mentioned, switching from 4/4 to 3/4 and back in one song is so unbelievably common in music in general.
also, the reason they use that weird variation of drop D has nothing to do with anything rhythmic. you can find a quote where mike says the reasoning behind the tuning switch, he thought it sounded "cool" or something.
you're defending GR for all the wrong reasons buddy.
he says in a video that he liked the sound of the chord, but i dont know if thats the sole reason he chose to play in open d minor (i think it was open d minor? D F A, i cant remember)
there were some groovey bits iirc but i dont know whether they have declined since still life. complexity doesnt always equate to good music
there were some groovey bits iirc but i dont know whether they have declined since still life. complexity doesnt always equate to good music
While I agree with your (and most others') notion that each Opeth album differs significantly from the rest, your defending points are a bit flawed: Ghost Reveries has more psychedelic influence (esp. on tracks 2-4) than any Opeth album except -maybe- Watershed. While Damnation is indeed somewhat psychedelic, it's much more a bluesy rock record with uniquely dark, melancholic tone.
Deliverance is an album I think people generalize far too much merely because its 'heavies' are heavier and its tone darker; it's still quite dynamic, subtle, and textured -- the latter two qualities particularly being influenced by Steven Wilson's production. For example: the ambient effects and certain vocal manipulations of "Wreath", the open atmosphere of "Deliverance" (generally present throughout the album), and Lopez' ridiculously nuanced drumming. And I'd say GR is very much like such heaviness and subtlety.
BlueSky
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It's not a weird variation of Drop D it's Open Dm genius, and regardless it does help being in a lower tuning. It's not about the exact timing as what they did with it, and that's just one small example. How can you even try, and state that Still Life is remotely as interesting rhythmically as GR? Totally ridiculous just like everything else you spew out.
brownden
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