-Vintersorg- said:
Very well, as you wish:
Blackwater Park comes in first for me for several reasons. Now one of these is of course that I hold a soft spot for it, as it was the first Opeth record with which I was acquainted. But, other than that, I think that the quality of the songs is probaby Opeth's strongest. I think it flows very well from beginning to end, and it has a very appealing, warn production courtesy of Steven Wilson. Bleak is my favourite Opeth song, and I think it's the first Opeth album where Mike's clean vocals really live up to their potential. the growls are deep and sonorous, the atmosphere haunting. It's just a classic, and everything about it makes it so. It's damn near faultless IMHO, and as such, I choose it as my favourite.
Now, Deliverance seems to get quite a bashing from a lot of people. However, I have always had hige admiration for that record, partly due to it's almost surgical precision. Everything about it is almost frighteningly tight. Of all the Opeth albums, I think it's perhaps the only one where ALL of the ideas on it work perfectly. The musicianship is outstanding, from all parties. It makes my jaw hit the floor, even now. However, at times it can prove slightly repetitive, and it doesn't have BWP's warmth, so it comes second.
MAYH used to be my favourite. Out of all of the albums, it was the one I loved most instantly. I thought it was a perfect record at first. But, over time, certain things holes have begun to appear. Obviously, the production isn't their best, but I can forgive this as I think it has a very appealing warmth. The growls are some of Mike's best, but the clean vox are not quite there yet, which is a shame considering the jaw-dropping quality of the melodies involved. The musicianship is excellent, and it all flows VERY nicely. But it's not faultless, and unlike BWP, it feels as though there are highlights, which is a negative in that ALL of BWP is on the same level of outstandingness. Marvellous record though.
Now, Orchid seems to be unpopular here. I can understand that. It was the first Swano produced record I bought by Opeth, and I HATED it when it arrived. Well, maybe not
hated, but I was very disappointed. It felt so... disjointed. And the production is very lacklustre. Mikes clean vocals let it down also (the clean passage in 'The Twilight Is My Robe' could have been one of the most beautiful ever recorded... and it is, but not to the extent it could have been). However, it is absolutely brimming with fantastic ideas. Much more so than Morningrise. It is full of wonderful melodies and energy. And I like Johans bass work on it (although I prefer Mendez's more subtle approach). For a debut, it's damn near untouchable. It shows Mike up for what he is: A bloody genius.
Ghost Reveries is next. It doesn't flow quite right for me. For example, Atonement is... ponderous. It feels like it has no direction. And the first section of Beneath The Mire sounds too much like a polyphonic ringtone for my liking
. However, the production is superb (Jens Borgen is really going places), and it has some excellent songs. Mikes clean singing continues to improve also. But the musicianship isn't quite up to par (for Opeth, it slays most other bands). I mean, The Grand Conjuration is superb rhythmically, and GOP and TBOTH have great, pacey bits. Isolation Years damn near breaks my heart, and Hours Of Wealth has some of Mikes best vox and guitar playing. But... it just doesn't sit quite right for me. There's not such a good flow. Oh, and I think Per is a very overrated keyboard player. Yes, it adds something, but there are much better keyboard players out there.
Damnation is kinda stuck lower down because, well... there isn't enough of it for it to be better than the other records. The quality of the songs is awesome, and Lopez blows my mind on this record, but there are less good tracks (DWAL, EC), and on such a brief album, 'less good' tracks can't really be afforded. Windowpane is marvellous however, Closure has become one of my live favourites, and Steven Wilson once again gives a nice, warm production job.
Still Life just doesn't do it for me like the others do. I keep telling myself to go and listen to it so I can appreciate it more, but... it bores me. 'Benighted' is one of the worst songs I ever heard, and I think that's one of my big problems. It just turns me off, I can't be doing with it. I mean... there are great songs on it, and classic moments (Godhead's Lament has one of my favourite Opeth solos in it, and a beautiful vocal melody). Serenity Painted Death gets all mosh-worth, which is cool. But there's something not quite right in the drumming, Mike's voice isn't ready to do what he asks of it, the production is kinda muddy and unappealing... and the 'chorus' melody (I know it isn't a chorus) of The Moor reminds me of an ABBA song, which is never good. It's fine, but I just don't see how such a clearly flawed record deserves such acclaim (in comparison with the others)
And Morningrise... well, it has all of the flaws of Orchid, but it doesn't have the attention grabbing features of that record for me. After 'Advent' (which is excellent), it all goes downhill... just not as good as their other records. No real focus, less acute musicianship, poor, cold production from Swano. It's just the lamest of the Opeth records, as far as I'm concerned.
Now, before I finish, I want to say that I LOVE all of these records. Even the ones right at the bottom. they are important to me. But you asked why that was my chosen order, so I told you. If these explanations aren't good enough, then sorry to disappoint you.
Opeth are the greatest band on the planet. All of their albums rule. But some are better than others, and that's why I think that way.
Peace