[QUOTE=Scruples]Serenity Painted Death is where it's at.[/QUOTE]


I can't get enough of that song. I love every second :evil:

Face Of Melinda and The Moor are my favorites from that album... :p

Godhead's Lament and SPD remain my favorite off that album.

I just love the pinch harmonic in the SPD riff.

Yeah thats a sweet riff.

I like Face Of Melinda and Serenity Painted Death are my fav still life songs. I love the solo and the riffs right after the solo on SPD..the riffs are so depressing to me.

I would say Ghost of Perdition is the best song on Ghost Reveries. Every part of it is good while some parts of other songs drag a little, just a little. Its still all better than anything thats played on the radio.

[QUOTE=bball_1523]I like Face Of Melinda and Serenity Painted Death are my fav still life songs. I love the solo and the riffs right after the solo on SPD..the riffs are so depressing to me.[/QUOTE]


Yeah they are, yet uplifting at the same time. Still Life, as a whole, is unique.

I haven't posted in here for a while, much because of the same reason as Cain. Since i haven't posted in here for a while, i would like to know everyone's Ghost Reveries opinion. Personally, i found it VERY weak. Mike's Vocals, whilst everyone is praising them, i find them to be one of his worst vocal performances from a BAND perspective. In earlier records, his vocals were sung with a very background feel, sounding like he was some kind of haunting spectre. I mean, who can forget the clean vocals from April ethereal or The moor? He had seperated himself from the audience, rather than the new cd, which sounds more personal, vocally wise. (remember all my opinion, arguments welcome:)) Brecht enhanced theater by seperating his actors from the audience, taking the personal quality from the audience. Mike HAD mastered that i feel, but the new record doesn't show it.

His writing has also gone to sh!t. This new album feels like he has just thrown in acoustic passages or a heavy section just for the hell of it, there is really no need for many parts of ghost reveries. Atonement is probably my favourite track on GR, only because it was something fresh and it did flow, mostly. Speaking of his writing ability, his originality is dead, I have seen some people talk about how certain sections from GR sound similar to something from Blackwater park or My arms your hears etc. He seems to be using very similar chord patterns, focusing around the minor bar chords once again, i think. His triads and solo scales are also very repetitive.

I just cannot stand GR aside from Atonement.

I seem to be one of the few people here who find it fantastic. TGC is probably the weakest track for me, and that's because there's no contrast. I really like the album, and find the criticism, especially for the riffs, unfounded.

My favorite Opeth album is Still Life, and really, I think there are less memorable riffs on that then GR.

But everyone's entitled to their opinion I suppose.

[QUOTE=Creeping_Deth]I seem to be one of the few people here who find it fantastic. TGC is probably the weakest track for me, and that's because there's no contrast. I really like the album, and find the criticism, especially for the riffs, unfounded.

My favorite Opeth album is Still Life, and really, I think there are less memorable riffs on that then GR.

But everyone's entitled to their opinion I suppose.[/QUOTE]

I agree TGC is their weakest track, but everything else is top notch opeth imo. I dig the first two songs as my favorites.

[QUOTE=Creeping_Deth]I seem to be one of the few people here who find it fantastic. TGC is probably the weakest track for me, and that's because there's no contrast. I really like the album, and find the criticism, especially for the riffs, unfounded.

My favorite Opeth album is Still Life, and really, I think there are less memorable riffs on that then GR.

But everyone's entitled to their opinion I suppose.[/QUOTE]

I agree totally.

'Cept, MAYH would fall into my number one slot. :p

I respect Greys opinion, but I dont agree with some of it.

[quote]there is really no need for many parts of ghost reveries.[/quote]

[quote] His triads and solo scales are also very repetitive.
[/quote]

I really don't understand this. Take a listen to the main 3 songs on Deliverance and tell me there isn't repetitivness. Wreath, Masters Aprentisses and Deliverance. But its just not that album! Theres more! Blackwater Park had some too....lets not forget the aggonising long end part of the self-titled song.

The truth is Opeth had some really long streches of repetitivness in some albums, and no fan ever pointed it out! Now that they are ditching some of those long streches, everyones jumping ship. I think this is where some of Opeth's true skill come into play, coming up with new and fresh ideas of keeping the interest of the listener, and keeping the song unique.

Anyway, just my opinion. :)

One thing that I have noticed is that ever since Still Life, whenever Mikael plays a chord-based rhythm, it tends to use the EXACT SAME rhythm. Duuh-duh-duh-duh-duh! Duuh-duh-duh-duh-duh!

I can see the critiques about heavy/acoustic relationships on this album. I see the keyboards replacing the guitar leads that added so much mood to previous efforts, and since the keyboards haven't become an integral part of Opeth's sound yet the focus is on the admittedly weak rhythm writing (which was always there to an extent, but there were sufficient embellishments to overlook it, in a sense).

I have confidence that the excellence of writing will resume when Opeth returns to focusing on creating moods and feelings rather than an idea of what their sound should be.

Mikael has been notoriously impatient with styles when he feels that they can be taken as far as they can go (as with Morningrise) but on the last few albums I feel like he's been promising drastic change and we haven't gotten it, really. The result is still very high quality but it doesn't mean that he's lived up to the promise. Remember when Deliverance was supposed to be their heaviest album ever and ****ation was going to be a full exploration of their acoustic side? Remember when Ghost Reveries was supposed to be a black metal album? To be honest, before everyone starts dishing out blows to Roadrunner again, I think a lot of that has to do with fan pressure: there are huge numbers of fans that want everything to stay more or less the way it was on Still Life and Blackwater Park in terms of overall structure. The Catch-22 is, in responding to that desire, Opeth's music sounds re-hashed, which ends up leaving even the fans who REQUESTED that sound's constance displeased with the end result.

Also, I've come to the conclusion that Lopez's drumming style is almost entirely inappropriate to a metal setting at this point. It's a virtuosic drum style in the context of rock and heavy jazz, but for metal music the heavy focus on the ride cymbal--not to mention the general sixteenth feel of his beats, leaving no room for any groove or "hot space"--just KILLS the headbanging potential of some of Ghost Reveries' riffs.

Mikael needs to muster up some guts and truly live up to his promise of change. Unfortunately, the change should have occured on "Deliverance" and "****ation." It'll be harder to do an about-face now that they're on a major label. On the other hand, it's by no means impossible. Major labels have been known to give bands that play to a selective and hardcore fanbases (such as Dream Theater) total creative freedom and the option to take their music in any direction they choose, so I would say that the best thing to do is for nobody to fret and have some faith in the band's integrity.

When the keyboards get stronger and more integrated, Mikael focuses on creating an evocative mood, and the relationship of the rhythm section to the guitars becomes more solidified (and the wimpy rock drum style is ditched), we'll have another BWP. I might also reiterate that tons of people thought Mikael's writing went to **** on MAYH, at the time. Fans are just fickle.

[QUOTE]One thing that I have noticed is that ever since Still Life, whenever Mikael plays a chord-based rhythm, it tends to use the EXACT SAME rhythm. Duuh-duh-duh-duh-duh! Duuh-duh-duh-duh-duh![/QUOTE]

The 3/4 time half note, then 4 16th notes go back beyond that. I'm thinking of When, Demon of the Fall, and Forest of October use that in at least one instance, and I'm sure those aren't the only songs. I guess it's more noticable (although it only sticks out to me since I learn some of these parts) in the later chunk of albums since they put more of those sections in.

Learning The Drappery Falls intro mutated most of my rhythms to the same thing :(. It took me a while to get over even though I still do use it since it's quite simple.

So are you guys saying that most of their songs have the same rythm?

[QUOTE=UpperDecker]So are you guys saying that most of their songs have the same rythm?[/QUOTE]

Cetain parts do.

Drapery falls intro, Demon of the Fall intro, When riff right before the solo, TNATSW Emin-Esus2 riff (if I recall correctly). I could probably put more down if I went through every song.

I wouldn't say most, but that rhythm is Opeth's friend.

Ok i see what you're saying. I still think they all are pretty unique (with each song having so many different riffs and stuff). When i first bought Blackwater Park i thought that Harvest sounded like The Drapery Falls, the intro that is. I think they should have put another song between these two tracks.

Anyone going to see Opeth live in Montreal with Nevermore?

I'm going!!! Can't wait!! It's gonna be sick!!!!!!!!!!!!

I agree with pretty much everything Cain has said, except I do like some of the vocal work on the album, and I do like D&D.

[QUOTE=Cain]
Also, I've come to the conclusion that Lopez's drumming style is almost entirely inappropriate to a metal setting at this point. It's a virtuosic drum style in the context of rock and heavy jazz, but for metal music the heavy focus on the ride cymbal--not to mention the general sixteenth feel of his beats, leaving no room for any groove or "hot space"--just KILLS the headbanging potential of some of Ghost Reveries' riffs.
[/QUOTE]

Such as? I'm failing to remember any instances where I felt that way at all. I personally think Lopez's style fits the band perfectly and miss him sorely. Although I will agree that he shines during the lighter moments - his best playing by far was on the Dam nation record - I don't necessarily see this as a bad thing. Quite simply, the Dam nation record would not be what it was without Lopez on it, and I value the album just as much as the others, although Still Life is my personal favorite.

He did say that his style fits rock and jazzy type stuff. I don't think his metal style drumming is bad on Deliverance though.

I really like Lopez's drumming on GR...but that's just me.

[QUOTE=Cain]One thing that I have noticed is that ever since Still Life, whenever Mikael plays a chord-based rhythm, it tends to use the EXACT SAME rhythm. Duuh-duh-duh-duh-duh! Duuh-duh-duh-duh-duh![/QUOTE]
I don't see this at all, but whatever.

[QUOTE]I can see the critiques about heavy/acoustic relationships on this album. I see the keyboards replacing the guitar leads that added so much mood to previous efforts, and since the keyboards haven't become an integral part of Opeth's sound yet the focus is on the admittedly weak rhythm writing (which was always there to an extent, but there were sufficient embellishments to overlook it, in a sense). [/QUOTE]
I don't think the keyboards took the place of lead guitar, they just act to enhance the mood.

[QUOTE]I have confidence that the excellence of writing will resume when Opeth returns to focusing on creating moods and feelings rather than an idea of what their sound should be. [/QUOTE]
Well, considering how often they change their sound, I think it'll be hard to truly master one style.

[QUOTE]Mikael has been notoriously impatient with styles when he feels that they can be taken as far as they can go (as with Morningrise) but on the last few albums I feel like he's been promising drastic change and we haven't gotten it, really. The result is still very high quality but it doesn't mean that he's lived up to the promise. [/QUOTE]
This I agree completely with.

[QUOTE]Catch-22[/QUOTE]
Reading this book. Kicks As[B]s[/B].

[QUOTE]Also, I've come to the conclusion that Lopez's drumming style is almost entirely inappropriate to a metal setting at this point. It's a virtuosic drum style in the context of rock and heavy jazz, but for metal music the heavy focus on the ride cymbal--not to mention the general sixteenth feel of his beats, leaving no room for any groove or "hot space"--just KILLS the headbanging potential of some of Ghost Reveries' riffs.
I disagree with this as well. I really love the drums on TGC and GOP. It's a unique style, but I think it fits perfectly.
[/QUOTE]
Who said we are all fanboys who love eveything they do :) .

That was a great post though, even though I disagree with 90% of it :lol: .

I like his drumming on the softer parts of the cd, (like the first soft verses to TGC, they really add to the atmosphere) but the heavy parts lacked double bass..

[QUOTE=Det_Nosnip]Such as? I'm failing to remember any instances where I felt that way at all. I personally think Lopez's style fits the band perfectly and miss him sorely. Although I will agree that he shines during the lighter moments - his best playing by far was on the Dam nation record - I don't necessarily see this as a bad thing. Quite simply, the Dam nation record would not be what it was without Lopez on it, and I value the album just as much as the others, although Still Life is my personal favorite.[/QUOTE]

One reason why I think Opeth is Opeth is because they are not of the "norm" of metal. It's hard to classify them musically, but they are definitely under the genre of metal. It doesn't mean they have to conform to all the stereotypes that make up metal such as its catches, hooks, and whatever else makes up metal. That's what I love about Opeth. THEY ARE DIFFERENT!

With that being said, I love Martin Lopez's drumming. I don't care if it's metal or not, he makes up a huge portion of "OPETH." He is definitely a great part of opeth and makes Opeth the diverse band they are. It would suck if there was a drummer drumming 300 bpm with blast beats in opeth's songs, it would ruin the feel of the songs IMO.

Also with Opeth being different, I love Ghost Reveries compositions. Sure I wish there were more heavier songs rather than ****ation type songs such as Atonement, but the album IMO is solid and proves Opeth's diversity and non-corformity to the metal genre. This proves to me that Opeth is still being Opeth. Thank you Opeth!

[QUOTE=bball_1523]One reason why I think Opeth is Opeth is because they are not of the "norm" of metal. It's hard to classify them musically, but they are definitely under the genre of metal. It doesn't mean they have to conform to all the stereotypes that make up metal such as its catches, hooks, and whatever else makes up metal. That's what I love about Opeth. THEY ARE DIFFERENT!

With that being said, I love Martin Lopez's drumming. I don't care if it's metal or not, he makes up a huge portion of "OPETH." He is definitely a great part of opeth and makes Opeth the diverse band they are. It would suck if there was a drummer drumming 300 bpm with blast beats in opeth's songs, it would ruin the feel of the songs IMO.

Also with Opeth being different, I love Ghost Reveries compositions. Sure I wish there were more heavier songs rather than ****ation type songs such as Atonement, but the album IMO is solid and proves Opeth's diversity and non-corformity to the metal genre. This proves to me that Opeth is still being Opeth. Thank you Opeth![/QUOTE]
Good stuff. We seem to agree completely on these matters.

[QUOTE=Creeping_Deth]Good stuff. We seem to agree completely on these matters.[/QUOTE]
Unlike me and you eh Deth... the only thing we've agreed on is that riff with the pinch harmonic on Serenity Painted Death is awesome... :lol: :p

mmmm.... Opeth.... mmm... *drools*

I don't like sub-genre's of metal (black, death, extreme, etc.) that much, but I do enjoy melodic metal. but Opeth is by FAR my FAVORITE metal band of any kind. this kid in an intensive out-patient group (fancy name for group therapy) turned me on to them, and I thank him for it. IMO Opeth>all other metal band of any genre

EDIT: my favorite song is "Black Rose Immortal"

[Quote]Remember when Deliverance was supposed to be their heaviest album ever and ****ation was going to be a full exploration of their acoustic side? Remember when Ghost Reveries was supposed to be a black metal album?[/Quote]

I think that your expectations were a little too high and are distorting how you view these albums. I personally don't remember too much hype about either deliverence or ****ation. As I understood it then is how I understand it now--D&D were a detour in the Opeth discography. These albums didn't progress sonically, they instead focused on refining/fleshing out("exploring") an already existing sound--the one that we heard on Blackwater Park. Furthermore both albums were written and recorded shortly after Blackwater Park, so how much could we truthfully expect--regardless of hype.

I also recall Mike stating in an interview shortly after the release or during the recording of D&D, that writing songs was no longer a gargantuan task for him--musical ideas began to become easier to express. So its very possible that D&D may have actually been (rather than a detour) a neccessary stepping stone. Although the sound certainly didn't change much, Mikael still may have progressed as a musician.

Onto Opeth's latest effort,Ghost Reveries ;) The album as I see it certainly marks a new era for Opeth and is in sharp constrast with D&D--two rather stagnant albums--in terms of progression of course. Ghost Reveries is most definitely rooted in Opeth's established sound, but it also takes that step forward. Its NOT "Blackwater Park: Just in case you missed it".

The further integration of keys, a stronger vocal emphasis, and heck even Martin Lopez's drumming on GR (as well as many other things) are largely uncharted territory for opeth and each provide avenues for progression. I think you were expecting something radical with this album and Opeth instead gave you something natural--a gradual progression from BWP.

[Quote]Also, I've come to the conclusion that Lopez's drumming style is almost entirely inappropriate to a metal setting at this point. It's a virtuosic drum style in the context of rock and heavy jazz, but for metal music the heavy focus on the ride cymbal--not to mention the general sixteenth feel of his beats, leaving no room for any groove or "hot space"--just KILLS the headbanging potential of some of Ghost Reveries' riffs.[/Quote]

I personally felt that Lopez's drumming on GR, coupled with his performance on ****ation solidify his position in Opeth. I love his style, and that's a subjective feeling for sure (and that's where I'm coming from a subjective opinion), but I can't fathom a better fit for Opeth right now.

And I have a feeling you had those thoughts in ya for a while :lol: Thanks for putting them out there :thumb:

Good post. (just letting you know I read it... :p)

haha, I guess bitching works :lol: I don't want charity though, that's demeaning :p