Unheard Opeth Fragments

The bass going wild on Forest Of October around 10:20, great stuff.

And on Nectar, the bass does two trills, around 8:28 and one higher around 8:31, sweet.
 
NicholasDWolfwood said:
Except that's not slap. It's his strings hitting the fingerboard from aggressiveness when playing, trust me on that. Why would he slap on the album if he doesn't do it live? Besides that fact, Steve Harris (and a lot of other bassists) play very aggressive and get that "slap" tone. I get that tone on my fretless, even, too.

The only times he slaps on Deliverance (live) is for accenting on the open notes, like the "dun-dun-dun dun-dun" at 3:05 or so..he slaps on The Grand Conjuration as well. Other than that, I'm not sure.


would this also be the case with teh bass during teh first growls on 'harlequin forest'? because i thought those sounded like slapping...though its not as audible as the other mentioned bass lines.



i always type 'e' before 'h' it gets annoying...
 
I was trying to figure out the guitar in 'Heir Apparant' and noticed in the second riff (before the piano) how the descending notes are played on different strings and you can still hear the note before it, gives it a kind of shimmery effect. Didn't notice it before but when paying close attention to it, it sounds awesome!
 
the outro to dirge for november: 5:45ish. the echo/delay effect on the guitar creates almost a 'shimmering star' effect in the background as i like to hear it. it sounds very distant, and behind the riff, it creates an amazing atmosphere. now obviously, this is all steve wilson's doing (the man is a genius with production), but to me its the coolest effect on the album, or on any album for that matter. one of the most beautiful sounds ive heard.

also, i dig how the first time through the outro, it fades out like the song is over, and it comes back again.
 
another overlooked part is the awesome solo electric guitar outro to white cluster. perfect way to sum up Still Life. also the the acoustic outro to Blackwater Park. mike sure knows how to build you up to the end of an album and then throw in a depressing guitar part to make you feel empty inside. true genius
 
There are so many parts that go "unnoticed", yet they're so cool.

The Twilight Is My Robe: Acoustic break in the song, around the 3.40 minutes, the volume swell effect of the guitar in the background, it's like a violin, its just beautiful and mystic.

April Ethereal: One of the greatest parts in Opeth's music: " I will endure...". Killer bass line, so beautiful.

When: Starting the second "verse": "This day wept on my shoulders...". There's an acoustic guitar that goes along with the heavy riff doing a pretty cool arpeggio.
 
wreath @ 9.50, when the metal breaks off and it shifts into a light guitar/bass guitar/drum section for a little bit. normally i only hear the awesome bass bit but i also really enjoy the guitar phrase, i dont know if anyone really notices it or not i just thought that maybe not because the bass is shoved to the front all of a sudden
 
The Apostle In Triumph: 8:41
I'm not sure if many people will agree to this, but for some reason the harmonised vocals sound very artificial and to me sound like a midget, Mikael tripping on helium, and/or Mikael clutching his balls extremely tightly. As far as I've heard, I dont think that Mikael can reach that high without going into falsetto (have a listen to the transition of his voice at 2:40 of Ghost of Perdition as he says 'winding ever...higher'). From what I hear, the harmonised vocals in Apostle sound too strong to be falsetto.

Mikael made the lead vocals while Johan DeFarfalla the backing vocals in Orchid. So it's maybe Johan doing the "harmonised" vocals.

Ghost of perdition
the 'if one cut the source of the flow' bit.. that whole fucking section is so good.. so many layers you have to listen carefully to hear..

That's the keyboard and an acoustic guitar...
 
wreath @ 9.50, when the metal breaks off and it shifts into a light guitar/bass guitar/drum section for a little bit. normally i only hear the awesome bass bit but i also really enjoy the guitar phrase, i dont know if anyone really notices it or not i just thought that maybe not because the bass is shoved to the front all of a sudden

What's really gets my attention on that part it's the sustained guitar at a very low volume.

Besides, Great Old Thread
 
Not really hidden, but the way the guitars change in April Ethereal from 'The rain was waving goodbye..' is ridiculously epic. Just had to mention it.
 
I don't know how many people notice this, but since I've never seen this mentioned on the board, I have to say that the bass in Coil pretty much makes the song, IMO.
 
Just in case, a point everyone should love.

The intro of Reverie/Harlquin forest, (yes, the one at the end of atonement).
The acoustic guitar ain't that cool, it's alright nice piece, but the one why I wrote this post is the string sound inbetween them, THAT is a point no one should miss out on.
 
Ghost of Perdition - 08.22

Right after the solo, Mikael's growling enters ("if one cut the source of the flow and everything would change...") Listen to the rhythm guitar beneath this line, as he says "everything" the guitar slides from Bb to E and it's amazing. This is repeated every second time this riff is played.

I'm sure most of you have noticed that, but I noticed this so so late, and after I noticed it my interest in the song kind of rekindled, just to hear that part!
 
Okay, this is going to be hard because I am not 100% certain of the exact timing, but I'll try.

The Leper Affinity 8:47-the guitar suddenly freezes as the solo comes to a sudden end and the gentle piano comes in. Awesome moment, awesome finish to an awesome song.
The Baying of the Hounds 3:29-the mellow keyboards (not certain which type) come in and it opens for the best moment on the entire album, with keyboards and guitars interweaving to create an incredible, haunting melody. Then again at about 8:45 the mellotron starts playing an enchanting melody, building up to a great finale.
The Moor Around 7:20 the gentle guitar melody comes in and then the acoustic guitars take over as Mikael sings the most beautiful verses he ever wrote.
 
2. the opening moving bar chord riff to april ethereal is quite epic. i have always enjoyed the song. but, one day, i noticed something about it that gave me instant chills. the melody of the minor third of each chord creates its own little atmosphere. for me, its like a musical illusion. i decided that i would try playing this song by only playing the notes on the low E and G string. then, i had a friend of mine play the minor 3rd on bass, instead of the tonic that is on the album. it brought out how i was listening to the song, but wasn't the same with the other notes. so now, every time i listen to that part, i try to zone out every note except for that minor third...and it completely changes the vibe of that section. its impossible not to hear the other voicings. but, when my main focus of the chords is on the minor 3rd instead of the tonic...its sweet. i pointed it out to a friend one time and he said it made him feel uncomfortable.
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Man this has been annoying me for ages. Its especially confused me when I've been playing it - because when I listen I can hear the minor 3rd going on, but when I actually play the chords like that it sounds even more wierd! Serious musical seriousness going on there, sure the physicists would like to explain some harmonic theory about it :)

For me, the intro to Moonlapse Vertigo always gets me. In the first two minutes I can't quite distinguish how many multitracked lead guitars there are, but I have a feeling its just 2. If it is then its the most huge amount of melody and harmony, and emotion that two lead guitars have ever created. First time I heard it I just sat there thinking - "how... HOW did they come up with this?!" The saddest thing is that I'll never experience listening to it the first time ever again...
 
I don't know how many people notice this, but since I've never seen this mentioned on the board, I have to say that the bass in Coil pretty much makes the song, IMO.

I noticed this. You can't hear it on crap speakers though. Same thing goes for the slide-solo/eerie part of Heir Apparent.