Watershed: Are you disapointed with it?
- Thread starter N3M3S1S
- Start date
^^To each his own..
That review was damn funny! A lot of things he said actually make a band progressive.. What a moron..
That review was damn funny! A lot of things he said actually make a band progressive.. What a moron..
nadavnaz
Rabi Rape 3!
Well yeah, I'm saying I personally can't see how one can be disappointed by it. It's so fucking awesome and contemporary at some times.
GT2000
Member
I said earlier I was disappointed with Watershed. I'm having second thoughts. It is growing on me as I suspected it might.
The great thing about WS is it suggests we've only seen the tip of the iceberg in terms of the creative potential of the Akerfeldtian One...
The great thing about WS is it suggests we've only seen the tip of the iceberg in terms of the creative potential of the Akerfeldtian One...
DinoB
Member
If he has nothing nice to say then why say anything at all? He keeps saying things like "doesn't break any new ground," but if it's been done before then why haven't I heard it? On his list of reviews he gives Death's Scream Bloody Gore four stars. It is a great album, but how the hell is that progressive? This is what he says: "Sadly, it's not Prog at all - but it IS enormously progressive. almost as progressive as Metallica" OMFG! This must come from his constant closet listening to Nickleback and Creed.
This is why I don't read reviews. It's all up to your own interpretation and obviosly this guy doesn't see the amount of emotion and imagery that Opeth evoke with their music.
This is why I don't read reviews. It's all up to your own interpretation and obviosly this guy doesn't see the amount of emotion and imagery that Opeth evoke with their music.
Lothlorien
Towards the Great Sky
- Jan 28, 2006
- 1,853
- 2
- 38
I guess I'll post my views of the entire album on this thread, instead of creating a completely new unnecessary one. So here are completely random thoughts on Watershed:
1) It's Opeth. That means "great" in my book. There are just varying degrees of great. There is "OMFG such brilliance wasn't made for mere mortals" (MAYH, Morningrise) and there is "I thoroughly enjoy listening to this album" (Ghost Reveries). So far, this falls closer to the latter than the former. I find that I prefer Opeth's earlier folkier leanings than the prog rock leanings that they seem to be heading into. Something that I've noticed that touches on that: on their earlier albums, there were more than a few moments when there was just a solitary acoustic guitar playing some beautiful riff, with absolutely nothing else going on. Since then (especially with Per's arrival), there's always something going on with that guitar - be it some singing, or atmospheric keyboards or anything. What can I say? I miss those earlier moments - they seemed to have a... I dunno, vulnerability to them which added to the atmosphere.
2) Speaking of vulnerability, the vocals - Akerfeldt really is a master of his craft. He sings on this album with a confidence never seen before, and he really shines. It seems that because of this, he sings relatively complicated melodies, as opposed to the simple ones he had on earlier albums. It's like playing guitar - just because you can shred 200 notes in one second doesn't mean you have to do it. Sometimes, the simplest approach is the best. But I do understand the need for Mikael honing his craft and wanting constantly to expand his abilities and techinique, so I guess it may be a bit of a double edged sword. As with everything else on this record, Opeth seem to be in a "damned if you do, damned if you don't situation". The closest thing I DO have to a complaint is the lack of growls - I've said this in another thread: For me, what made the "light" parts shine out amongst the rest was that it was surrounded by this awesome heaviness. A lot of my favorite Opeth songs have very little clean singing from Mikael, yet those are my favorite parts of the song usually.
3) Axe and Fred - I enjoyed Freds solos, but for me, Opeth was never about the single parts. I seriously can't remember off the top of my head more than 3 Opeth solos out of context - it's usually all a part of the song, and Axe's solos feel like they're a part of the song, so he's great in my book. A lot of the times I remember getting a hectic feeling from his solos, which is what Mikael was going for with the whole feeling of the song, so I had no problem with his fast stuff. As for Axe, the same. I'm not a drummer, so I can just say that I have no qualms and everything sounds like it should be there - even (especially) the part in Porcelian Heart which I really liked cause it made it feel all crazy.
4) The production - not as sterile as GR, which is a good, since I feel that that album lacked a certian oomph, especially with the heavy parts. Watershed seems a bit harsher around the edges, a bit muddier, and thats good. Though everything's clear and balanced. The bass isn't as prominent as GR, but that's ok. Akerfeldts voice seems a little bit drowned out at times by everything else going on and a little lower in the mix, but that's hardly a complaint.
5) All around thoughts - I enjoy the album. I guess thats the most important part, isn't it? Not everything has "sunk in" where I can predict what's coming (mainly Hessian Peel and Hex Omega) but I'm still going to give it a fair amount of listens. I don't think since I've started listening to Opeth that it's taken so long for an album to sink in for me - which is a definate good thing, so well done for that! I enjoy the lack of structure. I like the "creepy" feeling that the album envokes. While I was dissapointed with the cover when I first saw it, in context of the whole package, I think Travis Smith did an awesome job and it certainly doesn't feel re-hashed, so I stand corrected on that.
It short, am I dissapointed? No, of course not, it's the muthafucken 'Peth! Is it my favorite Opeth album? Hardly. I don't think Opeth will ever top their other albums - but not because of them, but because I look at music differently now and have grown up and their music isn't as life-changing to me as it was when I first got into them. But they're still fucking awesome.
Whew, rambled on a bit there... sorry.
EDIT: Just wanted to add something that I forgot before - it seems that Opeth is moving from music for the emotions to music for the mind - thinking music. Like most prog rock (for me, at least) I like a lot of the musical ideas since they are great and original, but emotionaly they don't do much for me, so it's hard for me to relate. Like Messhugah - they're geniuses no doubt, completely overturning everything I thought music can be. But I only own own album of theirs and even that is hard for me to get through on one listen.
1) It's Opeth. That means "great" in my book. There are just varying degrees of great. There is "OMFG such brilliance wasn't made for mere mortals" (MAYH, Morningrise) and there is "I thoroughly enjoy listening to this album" (Ghost Reveries). So far, this falls closer to the latter than the former. I find that I prefer Opeth's earlier folkier leanings than the prog rock leanings that they seem to be heading into. Something that I've noticed that touches on that: on their earlier albums, there were more than a few moments when there was just a solitary acoustic guitar playing some beautiful riff, with absolutely nothing else going on. Since then (especially with Per's arrival), there's always something going on with that guitar - be it some singing, or atmospheric keyboards or anything. What can I say? I miss those earlier moments - they seemed to have a... I dunno, vulnerability to them which added to the atmosphere.
2) Speaking of vulnerability, the vocals - Akerfeldt really is a master of his craft. He sings on this album with a confidence never seen before, and he really shines. It seems that because of this, he sings relatively complicated melodies, as opposed to the simple ones he had on earlier albums. It's like playing guitar - just because you can shred 200 notes in one second doesn't mean you have to do it. Sometimes, the simplest approach is the best. But I do understand the need for Mikael honing his craft and wanting constantly to expand his abilities and techinique, so I guess it may be a bit of a double edged sword. As with everything else on this record, Opeth seem to be in a "damned if you do, damned if you don't situation". The closest thing I DO have to a complaint is the lack of growls - I've said this in another thread: For me, what made the "light" parts shine out amongst the rest was that it was surrounded by this awesome heaviness. A lot of my favorite Opeth songs have very little clean singing from Mikael, yet those are my favorite parts of the song usually.
3) Axe and Fred - I enjoyed Freds solos, but for me, Opeth was never about the single parts. I seriously can't remember off the top of my head more than 3 Opeth solos out of context - it's usually all a part of the song, and Axe's solos feel like they're a part of the song, so he's great in my book. A lot of the times I remember getting a hectic feeling from his solos, which is what Mikael was going for with the whole feeling of the song, so I had no problem with his fast stuff. As for Axe, the same. I'm not a drummer, so I can just say that I have no qualms and everything sounds like it should be there - even (especially) the part in Porcelian Heart which I really liked cause it made it feel all crazy.
4) The production - not as sterile as GR, which is a good, since I feel that that album lacked a certian oomph, especially with the heavy parts. Watershed seems a bit harsher around the edges, a bit muddier, and thats good. Though everything's clear and balanced. The bass isn't as prominent as GR, but that's ok. Akerfeldts voice seems a little bit drowned out at times by everything else going on and a little lower in the mix, but that's hardly a complaint.
5) All around thoughts - I enjoy the album. I guess thats the most important part, isn't it? Not everything has "sunk in" where I can predict what's coming (mainly Hessian Peel and Hex Omega) but I'm still going to give it a fair amount of listens. I don't think since I've started listening to Opeth that it's taken so long for an album to sink in for me - which is a definate good thing, so well done for that! I enjoy the lack of structure. I like the "creepy" feeling that the album envokes. While I was dissapointed with the cover when I first saw it, in context of the whole package, I think Travis Smith did an awesome job and it certainly doesn't feel re-hashed, so I stand corrected on that.
It short, am I dissapointed? No, of course not, it's the muthafucken 'Peth! Is it my favorite Opeth album? Hardly. I don't think Opeth will ever top their other albums - but not because of them, but because I look at music differently now and have grown up and their music isn't as life-changing to me as it was when I first got into them. But they're still fucking awesome.
Whew, rambled on a bit there... sorry.
EDIT: Just wanted to add something that I forgot before - it seems that Opeth is moving from music for the emotions to music for the mind - thinking music. Like most prog rock (for me, at least) I like a lot of the musical ideas since they are great and original, but emotionaly they don't do much for me, so it's hard for me to relate. Like Messhugah - they're geniuses no doubt, completely overturning everything I thought music can be. But I only own own album of theirs and even that is hard for me to get through on one listen.
lol, that is brilliant. hopefully we'll be getting that chant at gigs, bit like *machine fuckin head*. o fuckin peth!
Ninfix
Gamer of life
I think you mean Hessian Peel? And speaking of "wrong" notes in that song, how about the vocal-melody at 8:14? That's like half-notes falling down a waterfall or something! Very cool, and off scale
Oh, I should've figured. After all, you did write "aaaagh, beer"
ometh
Member
- Nov 12, 2006
- 156
- 0
- 16
I'm pretty disappointed with Watershed it has to be said. Much of the heavy guitar work is somewhat generic and really uninspiring. I also agree with what some other people have said on this thread in that WS lacks atmosphere... that was something that really drew me to all of their other albums (par Deliverance maybe). Also, many of the transitions seem pretty forced and very awkward at times.
Overall I think WS seems to be lacking in most of the areas in which Opeth are usually so good.
Overall I think WS seems to be lacking in most of the areas in which Opeth are usually so good.
No, I meant Heir Apparent. I think there are a lot more dissonances in that one than in Hessian. They're so beautifully ugly!
That vocal melody at 8:14 rules, doesn't it? Sort of like a preview of the demonic fury that's going to soon be unleashed.....
That vocal melody at 8:14 rules, doesn't it? Sort of like a preview of the demonic fury that's going to soon be unleashed.....
The atmosphere is definitely different on WS than the other albums; much more schizophrenic IMO. To me, earlier albums went for a more consistent atmosphere, whereas it changes from song to song (and even within songs) on WS. I don't think this is a bad thing but I can understand why some might say that it is.
Ninfix
Gamer of life
No, I meant Heir Apparent. I think there are a lot more dissonances in that one than in Hessian. They're so beautifully ugly!
That vocal melody at 8:14 rules, doesn't it? Sort of like a preview of the demonic fury that's going to soon be unleashed.....
Yes, exactly! Kind of like the nothing-is-in-place-and-hope-is-nowhere-to-be-found-ish feeling
Pretty kick-ass!Any examples from Heir Apparent?
Edit: I really like the disharmonic chord that starts the song. I think it's a deeper version of the disharmonic chord Mike plays as an example on the DVD-documentary.
Yeah, what is that chord anyway? I'm willing to bet there's a tritone or two in it....
When Mike sings "So many years to clean the slate..." (or whatever the line is) right after that there's a pretty dissonant run. Not sure what the notes are but it is UGLY.
In a beautiful way of course
When Mike sings "So many years to clean the slate..." (or whatever the line is) right after that there's a pretty dissonant run. Not sure what the notes are but it is UGLY.
In a beautiful way of course
Brooks
Eyes Wide Open
Mikael Åkerfeldt;7349944 said:
He copped quite a hiding for that review over on Prog Archives as well. In this thread, in particular: http://www.progarchives.com/forum/forum_posts.asp?TID=49320&KW=Watershed&PID=2869038#2869038
Just thought I'd mentioned that. He certainly doesn't represent the progressive rock community, who by and large admire Opeth.
Ozzloaf
Art Geek
- Jun 14, 2008
- 1,769
- 0
- 36
No I'm not at all disappointed and at this point I'm not even surprised. What I've learned is that Opeth is always changing and I've learned to expect change and I'd honestly be disappointed with out it. One thing I was thinking before listening to the new album is that it'll be something new, something original and that's exactly what it was.
The first thing that drove me to Opeth was that I had never heard anything like it. If people dislike it because it's too "weird", or not heavy enough, etc. then they obviously don't understand Opeth.
P.S. Mike, I appreciate you taking the time to post on the forum. I don't think many other musicians do that on their band's forums.
The first thing that drove me to Opeth was that I had never heard anything like it. If people dislike it because it's too "weird", or not heavy enough, etc. then they obviously don't understand Opeth.
P.S. Mike, I appreciate you taking the time to post on the forum. I don't think many other musicians do that on their band's forums.
The Don
Member
Again I find myself drunk listening to Watershed, trying to figure it out. I guess it's a wonderful CD, just not exactly what I was looking for from a force like Opeth! The slower, clean tracks, while good, lack any sense of full sound. By full sound I mean they sound kind of weak compared to the rich melodies and consistent accoustics of "Harvest" and "Benighted". Still very nice to listen to though. Get rid of those keys Mike!
EDIT:
I'm still warming up to Watershed since most of what I've been listening to the past year is technical death metal. It's hard to go from TDM to the most progressive Opeth CD ever. Anyone think a double CD like Damnation/Deliverance style would be apporpriate for the next recording session? Not asking Opeth to go back, but I think it would be massively retardation badass +inf1Nityz if Mike made 6 tracks of badassery and left his death metal side behind rather than throw 3-4 real crushers on each disc. Anyone?
EDIT:
I'm still warming up to Watershed since most of what I've been listening to the past year is technical death metal. It's hard to go from TDM to the most progressive Opeth CD ever. Anyone think a double CD like Damnation/Deliverance style would be apporpriate for the next recording session? Not asking Opeth to go back, but I think it would be massively retardation badass +inf1Nityz if Mike made 6 tracks of badassery and left his death metal side behind rather than throw 3-4 real crushers on each disc. Anyone?
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