Opeth - Damnation
2003 - Koch Records
By Philip Whitehouse
Go to the Opeth website (As if you haven't all got it bookmarked...)
Since I first began writing for Ultimate Metal, I've been waiting for the chance to review an Opeth album - but I wasn't expecting it to be for this particular release. Reportedly, Mikael Akerfeldt was extremely nervous in the run-up to the release of Damnation - he was concerned about how Opeth fans would take this expression of Opeth's 'other' influences, and even went as far as to say that he wouldn't read any reviews of the album as a result of this apprehension. Well, considering how nervous I feel about getting this review right, I can only pity what the poor man had to go through.
It's fair to say, however, that he had nothing to worry about. A companion piece of sorts to the album previous to this, 'Deliverance', 'Damnation' is a one-off departure from Opeth's traditional sound (if such a word can be used to describe so unique a band) - a jettisoning of the death metal, harsh screams and fast-tempo sections in favour of concentration on the mellower aspects of their sound. The result is what sounds like a progressive rock album that would have sat equally as well in the mid 70s as it does in the contemporary music world. The inclusion of grand pianos, Fender Rhodes, mellotron and Middle Eastern influences (particularly prevalent on 'Closure') coupled with a more old-school production place the music in the retro canon, but at the same time the distinct personality and character that Opeth manage to bring to all of their releases means that, despite the reference points (Pink Floyd, Camel, a touch of King Crimson and ELP), this is unmistakably an Opeth album.
My initial concern was that Opeth's main strength was in their ability to blend the seemingly disparate threads of extreme metal and mellow acoustic rock, that their spark came from their ability to almost flawlessly bridge this dichotomy, and that the polarising of one aspect of their sound for an entire album would lead to an indifferent collection of songs lacking in variety. However, the atmosphere and restraint brought forth in this album silenced my concerns. The gentler pace and more relaxed feel allow the musicians to shine without having to force themselves - note the tasteful, well-time drum fills throughout, or the languid but melodic bass lines that guide the music. Mikael himself displays a talent for clean singing that was previously only hinted at, and his lyricism is as intriguingly metaphoric and evocative as it is perfectly phrased to the songs.
Extreme metal fans may turn up their nose at this release, and I've noticed that several Opeth fans have been disappointed (perhaps seeing this as a signal of a permanent change in style rather than the one-off experiment that Opeth assure us it is). However, I'd urge everyone to give this album at least a chance - the melancholic and haunting atmosphere within is a pleasure to lose yourself in, and there are few bands out there who can make such a musical about-face without compromising their integrity or raising questions about their intentions.
10/10
2003 - Koch Records
By Philip Whitehouse
Go to the Opeth website (As if you haven't all got it bookmarked...)
Since I first began writing for Ultimate Metal, I've been waiting for the chance to review an Opeth album - but I wasn't expecting it to be for this particular release. Reportedly, Mikael Akerfeldt was extremely nervous in the run-up to the release of Damnation - he was concerned about how Opeth fans would take this expression of Opeth's 'other' influences, and even went as far as to say that he wouldn't read any reviews of the album as a result of this apprehension. Well, considering how nervous I feel about getting this review right, I can only pity what the poor man had to go through.
It's fair to say, however, that he had nothing to worry about. A companion piece of sorts to the album previous to this, 'Deliverance', 'Damnation' is a one-off departure from Opeth's traditional sound (if such a word can be used to describe so unique a band) - a jettisoning of the death metal, harsh screams and fast-tempo sections in favour of concentration on the mellower aspects of their sound. The result is what sounds like a progressive rock album that would have sat equally as well in the mid 70s as it does in the contemporary music world. The inclusion of grand pianos, Fender Rhodes, mellotron and Middle Eastern influences (particularly prevalent on 'Closure') coupled with a more old-school production place the music in the retro canon, but at the same time the distinct personality and character that Opeth manage to bring to all of their releases means that, despite the reference points (Pink Floyd, Camel, a touch of King Crimson and ELP), this is unmistakably an Opeth album.
My initial concern was that Opeth's main strength was in their ability to blend the seemingly disparate threads of extreme metal and mellow acoustic rock, that their spark came from their ability to almost flawlessly bridge this dichotomy, and that the polarising of one aspect of their sound for an entire album would lead to an indifferent collection of songs lacking in variety. However, the atmosphere and restraint brought forth in this album silenced my concerns. The gentler pace and more relaxed feel allow the musicians to shine without having to force themselves - note the tasteful, well-time drum fills throughout, or the languid but melodic bass lines that guide the music. Mikael himself displays a talent for clean singing that was previously only hinted at, and his lyricism is as intriguingly metaphoric and evocative as it is perfectly phrased to the songs.
Extreme metal fans may turn up their nose at this release, and I've noticed that several Opeth fans have been disappointed (perhaps seeing this as a signal of a permanent change in style rather than the one-off experiment that Opeth assure us it is). However, I'd urge everyone to give this album at least a chance - the melancholic and haunting atmosphere within is a pleasure to lose yourself in, and there are few bands out there who can make such a musical about-face without compromising their integrity or raising questions about their intentions.
10/10
