Review Summary: The aftermath of not giving up?
Opeth have delivered various albums that capture marvelously the dark sound they represent. For almost 20 years, each new release of theirs kept listeners at the end of their seats. Quality along with quantity. Technicality, emotion, intriguing thematology and musical proficiency. Their career was full of style changes, diversity and somewhat evolution, as each album is never exactly alike the previous or the following one.
With Heritage, in 2011, Opeth came to agitate the waters of their reputation (that - let's be honest - had started to stagnate a little), dividing their fan-base. Even if minor hints were given with their album ''Watershed'', the complete stripping of their music from all those characteristics that made them distinctive, and filling the remaining gap with tricks used in 70's prog rock scene, was an out of the blue move. Was this to be a permanent change? Did it signify the end of an era for a legendary band, that had no idea as to where to head to from now on?
After three years of waiting in oblivion, Pale Communion came to give us an answer. Opeth's mastermind, Mikael Akerfeldt has no intention of returning to their previous sound. He seems fond of the idea of paying homage to his idols, believing it's a more mature approach to music.
Is it any worth it? Before jumping into conclusions, try focusing more on what Opeth want to become, rather what you want them to be. With Pale Communion, the band manages to improve on what they started with Heritage, incorporating their influences more subtly and consistently. Jazz fusion, progressive rock and straightforward hard rock are mixed up, giving birth to a melodic, nostalgic record, without sacrificing the heavy parts when needed.
The album provides us with songs that will become instant classics, such as ''Moon Above, Sun Below'','' Eternal Rains Will Come'' (which screams Atomic Rooster from afar) and the out-of-this-world ''Faith in Others'', that made famous musician and band's friend, Steven Wilson name it ''Mikael Åkerfeldt‘s finest achievement to date.'' Production and mixing are top notch, giving the sense of immediacy and realism, a vintage character similar to that of the records of the past instead of a plastic, polished and fake sound.
Drummer Martin Axenrot carries his role spectacularly, performing heavenly good parts for yet another time, in songs like the opening track, or the remarkable ''River''. Keyboards take up a lot of space and come to the front , without becoming tiring. A perfect paradigm would be ''Goblin'', a tribute to the Italian progressive rockers of the same name. The guitar work, while not astonishing, has its moments and Fredrik Akesson lives up to our expectations with extreme soloing that avoids shredding and focuses on substance. Mikael's voice is surprising, taking us away from wishing for harsh, devilish vocals, that would indeed sound quite ludicrous with this kind of music.
Where seems to be the main problem is that, even with greater focus and style-blending, the element of surprise is nowhere to be seen. Cusp of Eternity is an excellent example of playing it safe. Apart from the killer solo, the song has not much to give. Elysian Woes is not a bad track but sounds hasty and predictable, while the lyrics do not favor it. Voice of Treason has a nice eastern vibe in it and a dim atmosphere, but drags on for longer than needed, and cannot be compared to other prog masterpieces from the band's past, while close to the end it recycles ideas from Blackwater Park's t/t. No matter how enjoyable they might be, they are not on par with the album's other songs.
There's no point in trying to figure out whether Pale Communion is better or not than Heritage, a comparison difficult to avoid. They are both the new face of Opeth, just under different light. What we should keep in mind in the end is that Pale Communion is a great album (with a mediocre cover art, though) that brings new elements in Opeth's sound -only- and is undoubtedly one of the year's milestone releases. It should be given a chance by any kind of Opeth fan, from the hardcore ones to the open minded ones. Even if not appreciated as much by both, it will at least help establish the new status quo and make anybody realize that, what truly matters is the artist's vision on their music.
