Opeth – Watershed
Roadrunner Records – 3 June 2008
By Russell Garwood
“It’s our new record, we think it’s pretty good. We hope you’ll like it.”
So Mikael Akerfeldt introduces Watershed, surrounded by a 5.1 system in a very comfortable studio. The first spin of a new Opeth album doesn’t get much better than this, as we settle in for an hour of new Opethian goodness. Having only had three days to absorb the new record, a more comprehensive review from UM will be coming in the fullness of time, but until that date we thought some initial impressions would be appreciated.
Halfway into opener ’Coil’ it becomes apparent that with Watershed the Swedes have taken a few more risks. Careful use of female vocals attests to that, and as the album progresses it becomes clear that with two debutantes in the lineup, the band have also introduced other new elements to the sound. This is coupled with a distinct sense of fun to the proceedings – in one section, tuned arpeggios segue into detuned guitars, into Mikael cracking up, and then into a heavily processed laugh, leading into the next track - all a bit different to the more melodious and less playful transitions we’ve heard from the band before. Also notable is increased use of disharmony: elements of instrumental noise creep in, coupled with (what feels to me) an almost cinematic, horror-inspired feel to the substantial number of eerie refrains throughout. Augmented by reversed vocals, quiet whispers in the background, and unusual effects, this feels like something just a little new from the melodeath veterans. The addition of Per to the lineup has more impact than the band’s previous outing, with extensive use of orchestrations, and an unabashed presence of Moogs throughout.
That is not to say all the elements we have come to expect from an Opeth album are not present – there are quiet moments aplenty, while the heavy sections are just as abrasive as ever, showing that the band has not mellowed with age. More refrained track 'Burden' shows plenty of prog leanings, and there seems to be a larger palette of textures and styles influencing the melodic portions. As is to be expected instrumental performances are tighter than a mosquito’s ass stretched over a rain barrel, and the new members fill their predecessors’ shoes with few problems. The production is excellent, the 5.1 mix especially impressive, with some real attention to detail. All this makes for a multifaceted record, which will no doubt take some time to absorb. How does it compare to the band’s previous releases? I feel it’s too early to tell, but Watershed is certainly a solid entry into Opeth's back catalogue, and it will provide some solid listening for the next few months. A more extensive review from UM will be up in the coming weeks, but in the meantime, more thoughts as they come…
Official Opeth Website
Official Opeth Myspace
Official Roadrunner Website
Roadrunner Records – 3 June 2008
By Russell Garwood
“It’s our new record, we think it’s pretty good. We hope you’ll like it.”
So Mikael Akerfeldt introduces Watershed, surrounded by a 5.1 system in a very comfortable studio. The first spin of a new Opeth album doesn’t get much better than this, as we settle in for an hour of new Opethian goodness. Having only had three days to absorb the new record, a more comprehensive review from UM will be coming in the fullness of time, but until that date we thought some initial impressions would be appreciated.
Halfway into opener ’Coil’ it becomes apparent that with Watershed the Swedes have taken a few more risks. Careful use of female vocals attests to that, and as the album progresses it becomes clear that with two debutantes in the lineup, the band have also introduced other new elements to the sound. This is coupled with a distinct sense of fun to the proceedings – in one section, tuned arpeggios segue into detuned guitars, into Mikael cracking up, and then into a heavily processed laugh, leading into the next track - all a bit different to the more melodious and less playful transitions we’ve heard from the band before. Also notable is increased use of disharmony: elements of instrumental noise creep in, coupled with (what feels to me) an almost cinematic, horror-inspired feel to the substantial number of eerie refrains throughout. Augmented by reversed vocals, quiet whispers in the background, and unusual effects, this feels like something just a little new from the melodeath veterans. The addition of Per to the lineup has more impact than the band’s previous outing, with extensive use of orchestrations, and an unabashed presence of Moogs throughout.
That is not to say all the elements we have come to expect from an Opeth album are not present – there are quiet moments aplenty, while the heavy sections are just as abrasive as ever, showing that the band has not mellowed with age. More refrained track 'Burden' shows plenty of prog leanings, and there seems to be a larger palette of textures and styles influencing the melodic portions. As is to be expected instrumental performances are tighter than a mosquito’s ass stretched over a rain barrel, and the new members fill their predecessors’ shoes with few problems. The production is excellent, the 5.1 mix especially impressive, with some real attention to detail. All this makes for a multifaceted record, which will no doubt take some time to absorb. How does it compare to the band’s previous releases? I feel it’s too early to tell, but Watershed is certainly a solid entry into Opeth's back catalogue, and it will provide some solid listening for the next few months. A more extensive review from UM will be up in the coming weeks, but in the meantime, more thoughts as they come…
Official Opeth Website
Official Opeth Myspace
Official Roadrunner Website
