"The Lotus Eater" is conceptually immaculate; shut the hell up.

[intension]

Add me to the list of people that love that song, that part, and the album.

On a slightly different note, I fail to realize how you can ever expect anything from anyone, especially concerning music and artists. We're not in Opeth, we don't write for Opeth, and none or most of us know the members of Opeth personally. You can't possibly expect anything from them because you dont write their music.

 

[BlueSky]

You're not quite grasping the meaning of expect in the context it was placed in. It's not a demand, but rather an educated guess on the direction you think they'll take based on the past record of the band.

 

[intension]

No no I realize that there are certain norms within a bands music or sound. I realize that a harmonica solo on the next Opeth album wouldn't exactly be "expected" from the fan base. All I'm saying is that we don't live with the dude, clearly...and to be surprised by something in their music is just slightly naive of us. I mean...Mike is obviously a fan of 70s prog, they have a fucking keyboard player, and we all heard some of the funky keyboard lines on GR. So why the fuck was this so unexpected and so earth shattering from Opeth? I dont know. Love it though.

 

[BlueSky]

I'd hope they do what ever they want to do, but personally I like to be much more surprised by the next one.

 

[ReverieUnfold]

Quite the contrary to what you said I do look at songs as wholes, and that's my problem with the said part, which is exactly the problem with the first two cds being a lot of ideas, but little cohesiveness. It seems rather a forced entry than something that's been fully conceptualized as a whole.

I didn't say you don't consider songs as wholes, I said not doing so leads to more notions of disjointedness than would otherwise exist, regardless of your reason for such a notion of The Lotus Eater. As stated, I agree with and respect your opinion of Orchid and Morningrise as being (relatively) non-cohesive, but I gave good reason as to why the 'circus-like' TLE segment isn't; contextually it could represent the height of deluded escapism, with the subsequent abrupt heaviness a parallel to ensuing anguish piercing a mind's veil.

I do however commend the attempt because unlike you I've come to expect what Opeth has up their sleeves. I'm not quite grasping why people act like Opeth have had some drastic change ever besides Damnation there has always been a tried and true formula that Opeth have stayed extremely true to. In fact I think this cd is the only real attempt towards change.

Now that's not only bafflingly pretentious, but hypocritical too. You say "the 'Circus Part' was bound to throw people off a bit [and] fairly unexpected from what has come to be expected from the band", yet you've "come to expect what Opeth has up their sleeves"? Glad to hear you're so ahead of the curve and not even consistent in your thinking. Honestly, the only way no Opeth album but Damnation can be considered a departure from "a tried and true formula" is if said formula is 'progressive death metal' and nothing further. Damnation the only "drastic change"-- next sentence Watershed "the only real attempt towards change." Brilliant, dude.

Your (and anyone's) perception of Opeth's evolution from album to album has a lot to do with whether you were actually 'with them' the whole time, not just looking back and being able to hear eighteen years in nine hours. Make sense? If you want a dissertation on the extreme aesthetic and compositional diversity of Opeth's catalogue, I'll steamroll you with it.

 

[BlueSky]

Just because they throw in a small fairly unexpected part doesn't mean much, but it was an honest attempt that I would have like to have been pushed further, and what I was trying to say is I understand if people don't accept it so fast. There are bands that constantly put out out cd after cd of entire collection of songs that you'd never see coming, and not just some small part in 9 albums. As for Damnation it wasn't an attempt towards change as Mike said he wanted it to be a one time thing, and that's that. You seem to like to hear yourself talk trying to gain some cred on the forum instead of trying to have a level headed conversation. Lastly you're not going to steamroll me with anything since the music speaks for itself. Although It's not like I haven't been listening since before Deliverance onward, which has seen the biggest amount of change in the context of their catalogue, but thanks for assuming.

 

[Lachybob]

The lotus eater is a good track, but after many listens i tend to trail off and forget bout it in the clean section before the cool keyboard breakdown.

 

[Slynt]

I think you overanalyze the importance of the music compared to the lyrical concept, but good post nonetheless.

The Lotus Eater blew me away from the first time I heard it; it was the first song I heard off the album, and I shed a tear of joy when I heard this powerful, varied song - shame the rest of the album isn't as experimental and fresh; The Lotus Eater just blasts.

 

[Carta's]

I've liked The Lotus Eater from the beginning, and the circus part screams "fuck yeah!" to me, as did By The Pain I See In Others' circus part. I haven't really stopped to reason out on the lyrical relations with the music tough.

An idea that just occured to me: if the "liquid" in the throat is alcohol, the lyrics could be about Mike himself. We all know he is quite a drinker, and he did say that the lyrics were personal stuff.
As I stated in other threads, I think this is embodied by his fears for the new kids: yeah, Melinda was already born when Ghost Reveries was being written, but I think she was too young to have such a deep impact such as the new arrival plus Melinda: maybe Mike didn't want to write about his newfound fears, maybe he didn't even have fears, alas, I don't know. What I do know is that anyway this album Watershed is permeated by this new fears.

Anyway, the relations with alcohol and the fears might be that he doesn't want to be seen by his daughters as a drunkard, maybe he things he might become a heavily addicted person.

On a last note, no, I don't think that the circus break is in any way connected to the lyrics. Sure, it makes sense, but, remember Mike wrote the lyrics in one night long after the music was crafted.

 

[Kalabalik]

An idea that just occured to me: if the "liquid" in the throat is alcohol, the lyrics could be about Mike himself. We all know he is Swedish, and he did say that the lyrics were personal stuff.

Corrected

 

[Tangled]

I just don't dig the heavy parts of the song or the structure really.

Referring to TLE I would have to agree with you. I find the drum work to be totally out of place, and at times overly flashy (alot of the fills and transitions don't make any sense to me) Its an interesting song no doubt, I tend to enjoy the keyboard breakdown. It sounds fine, the problem in that song is the drum work.

sincerity beats originality, always. Too many Opeth fans want art for art's sake, not something rooted in emotional authenticity. I have always sensed an incredible degree of the latter in Mike's writing, and I wouldn't trade that for the most dazzlingly unheard musical concept, 'progressive' or not.

I would think sincerity and originality would go hand in hand. Sincerity is overrated on its own, anyone can write a sincere watered down love song that we've all heard many times but I think originality is what makes each and every (good) love song interesting. Yes Mikes writing is emotionally authentic, but is it not at the same time original? I dont think Opeth fans want art for art's sake, I think they want heavy music that isnt quiet as mindless and one dimensional as the overwhelming majority of "metal" or just music in general is today. Opeth's music has dynamic and mystery, they dont put out albums that I can understand at first glance and then put down. I (and I would assume most fans) listen to Opeth albums endlessly. Its one of the few bands that I actually go out of my way for to buy their album, just so I can read the lyrics, look at the artwork and have a tangible copy of it, not just an Mp3. Their albums are simply amazing and too important not to own, I dont think any real opeth fans overlook that.

Opeth is a very difficult band for some people to get into, I have a very hard time introducing the band to any of my friends. That being said, the people who do like Opeth seem to be almost obsessed with the band. Which, really makes me doubt that their are key aspects of opeths art that are being overlooked.

 

[L0bster]

The "circus part" (worthless name for it) is among my top 10 opeth parts, through-out their whole discography. And I love how ppl on this forum disses it as circusish och nintendoish, it shows a complete lack of reference as well as thick ignorance and share lazyness.

The part brings back the mode of the late 60s and early 70s prog/psych scene in sweden, with bands like Samla Mammas Manna and Hanson och Karlsson. A part of the scene that influenced video game composers, hence your connection to nintendo music.

 

[Isengard]

I would think sincerity and originality would go hand in hand. Sincerity is overrated on its own, anyone can write a sincere watered down love song that we've all heard many times but I think originality is what makes each and every (good) love song interesting. Yes Mikes writing is emotionally authentic, but is it not at the same time original? I dont think Opeth fans want art for art's sake, I think they want heavy music that isnt quiet as mindless and one dimensional as the overwhelming majority of "metal" or just music in general is today. Opeth's music has dynamic and mystery, they dont put out albums that I can understand at first glance and then put down. I (and I would assume most fans) listen to Opeth albums endlessly. Its one of the few bands that I actually go out of my way for to buy their album, just so I can read the lyrics, look at the artwork and have a tangible copy of it, not just an Mp3. Their albums are simply amazing and too important not to own, I dont think any real opeth fans overlook that.

Opeth is a very difficult band for some people to get into, I have a very hard time introducing the band to any of my friends. That being said, the people who do like Opeth seem to be almost obsessed with the band. Which, really makes me doubt that their are key aspects of opeths art that are being overlooked.

+1

 

[Jackehh]

Posting in an epic thread

well written although like previously mentioned by others, I dont think many will be able to comprehend what you are trying to say good analysis of a good song, I especially liked how you point out that People (I use the word people not opeth fans, broading the aspect) want art just for the sake of it being art

Emotions and inspirations will always be more important than achieving originality, in my opinion.

By the way folks, Watershed's lyrics having been written in one night equals inspiration

Is this true by the way

P.S: For the record, TLE and Hex Omega are my two favorite songs on watershed

 

[Jackehh]

Opeth is a very difficult band for some people to get into, I have a very hard time introducing the band to any of my friends. That being said, the people who do like Opeth seem to be almost obsessed with the band. Which, really makes me doubt that their are key aspects of opeths art that are being overlooked.

1+

 

[soundave]

Is this true by the way

That the lyrics were written in one night? Yes.

 

[BlueSky]

The "circus part" (worthless name for it) is among my top 10 opeth parts, through-out their whole discography. And I love how ppl on this forum disses it as circusish och nintendoish, it shows a complete lack of reference as well as thick ignorance and share lazyness.

The part brings back the mode of the late 60s and early 70s prog/psych scene in sweden, with bands like Samla Mammas Manna and Hanson och Karlsson. A part of the scene that influenced video game composers, hence your connection to nintendo music.

People can reference it to whatever the hell they want if it gets the point across, which it certain has. "60s and early 70s prog/psych scene in sweden." So you're saying this is the definitive point of reference as if the world revolves around Sweden? Pretty petty claim.

 

[Jackehh]

That the lyrics were written in one night? Yes.

Woah didn't know that, I guess Mikael had an "outburst of lyrical creativity" hah.

Thanks for the answer

 

[beast from the east]

People can reference it to whatever the hell they want if it gets the point across, which it certain has. "60s and early 70s prog/psych scene in sweden." So you're saying this is the definitive point of reference as if the world revolves around Sweden? Pretty petty claim.

I also loved TLE from the get go, and has become my favorite song on the album. The "circus" part is an interesting break that splits the song up, and simply sounds damn cool, Nintendo-ish or not.

I am typically not one to analyze the lyrics and intent of a song as so many of you do, so it is nice to read many of these posts, especially from the OP. Well stated and coherent. Thanks!

 

[soundave]

Mike said in his myspace while writing WS he had come up with some Chick Corea type keyboard stuff. I think that's the answer as to the appropriate point of reference.