I just got Morningrise in the mail...original edition without the bonus track. Sweet!

Before I even touch it I'm going to dig the hell out of the Porcupine Tree DVD which coincidentally also came today.

[QUOTE=Kage;13282738]Per did the high ebow guitar part at the beginning of Blackwater Park, which I had mixed feelings about. It did allow for a thicker sound from the rhythm guitars.[/QUOTE]
It'd work wonders with Wreath as well, because you could have like, dual guitar/ebow thing with synths... in the chorus thingie after the first solo... yeah.

[QUOTE=Jude;13282759]
Before I even touch it I'm going to dig the hell out of the Porcupine Tree DVD which coincidentally also came today.[/QUOTE]

Oh, that's out? I should go track it down.

ROFL @ Mikeal at the beginning of this video.

[url]http://www.youtube.com/watch?v=ARfsovcxmVk[/url]

Hmm...so I downloaded that video that somebody was talking about of Opeth at Rock AM ring...to be perfectly honest, they definitely were not at their best there. They looked tired, or something...Mikael's voice was really weak (especially the growls, which are normally pretty consistent). Although, Per did have a pretty nice solo during the extended Closure outro. I'm thinking that maybe the problem was that they were playing during the day. :lol:

Opeth are wild night animals.

damn right

[QUOTE=Eliminator;13271176]You'd be surprised how easy it is to write Opethian riffs/progressions and whatnot.[/QUOTE]


Yeah, just take all that music theory that you learned, throw it out the window, then start writing. :p

I was watching the guitar lesson on how they played/wrote my fav. Opeth song The Drapery Falls and when he was asked what this chord is:

e|-0-|
b|-0-|
g|-5-|
d|-7-|
a|-6-|
e|---|


He said, " I don't know what this chord is, it just sounds cool." :lol:

And the interviewer is like "Uh... okay".

I <3 Opeth. :)

[QUOTE=Eliminator;13290531]And the interviewer is like "Uh... okay".[/QUOTE]


Judging from the way these chords sound and the way they fit together, I at first thought that Opeth were like kings of music theory. Damn, was I wrong. :p

I <3 Mikael and Bass especially.

[QUOTE=pate;13290589]I <3 Mikael and Bass especially.[/QUOTE]

Mikael is a pretty funny guy.

I loved his comment on nature when I recently saw them at Gigantour.

[I]Hello, friends. It's beautiful here in Southern California. All the pretty trees and scenery. But no one really gives a damn about nature anymore. Neither do we. We just want to play some tunes for you, so let's get this damn thing over with[/I]

:lol:

So... I saw all 8 Opeth albums in the one shop today... "Music Zone" in Glasgow. It was such a wonderful sight to see. And they had like 4/5 copies of each one, it was f[SIZE="2"]u[/SIZE]cking awesome.

Pity I own them all.

Although I had the urge to buy them all again, purely because I could.

:smoke:

[QUOTE=lightningmetal666;13290507]Yeah, just take all that music theory that you learned, throw it out the window, then start writing. :p

I was watching the guitar lesson on how they played/wrote my fav. Opeth song The Drapery Falls and when he was asked what this chord is:

e|-0-|
b|-0-|
g|-5-|
d|-7-|
a|-6-|
e|---|


He said, " I don't know what this chord is, it just sounds cool." :lol:[/QUOTE]
That's simply an Amadd9 with a D# in the bass. A great voicing though.

[QUOTE=lightningmetal666;13290617]Mikael is a pretty funny guy.

I loved his comment on nature when I recently saw them at Gigantour.

[I]Hello, friends. It's beautiful here in Southern California. All the pretty trees and scenery. But no one really gives a damn about nature anymore. Neither do we. We just want to play some tunes for you, so let's get this damn thing over with[/I]

:lol:[/QUOTE]

I give a damn about nature.

Opeth > nature.

I'm listening to mayh for the 75417th time now. Never gets old.

[QUOTE=Eliminator;13291661]Opeth > nature.[/QUOTE]

QFT

Nature is pretty level with Opeth.

[QUOTE=Kage;13291307]That's simply an Amadd9 with a D# in the bass. A great voicing though.[/QUOTE]


That D# is really quite odd though, you must admit. I actually like it better without the bass note. Then again, Opeth are the masters of making dissonance beautiful. :p

the D# sounds odd because it's the tritone. Coupled with the fact that the P5 is still in the chord it is very dissonant.

hmmm, I like Opeth, I like their slower songs more where Mikael actually sings. I think the progression of their songs and stuff sounds really cool.

Theres a vid on youtube where he teaches the crowd some death growls... haha funny.

Seriously, how can anyone not like Black Rose Immortal.

Because it's 20 minutes of purely boring music.

Wtf, BRI is fu[SIZE="2"]c[/SIZE]king awesome.

What's with the Opeth thread BRI hatred. Tonnes of great riffs.

[QUOTE=Symbolic;13293809]Wtf, BRI is fu[SIZE="2"]c[/SIZE]king awesome.

What's with the Opeth thread BRI hatred. Tonnes of great riffs pasted together in a totally random fashion.[/QUOTE]

Fix'd.

[QUOTE]Mikael's growling lessons[/QUOTE]

I was at one of those shows. 'Twas a fun time.

[QUOTE=Dr. Jake Destructo;13293302]That D# is really quite odd though, you must admit. I actually like it better without the bass note. Then again, Opeth are the masters of making dissonance beautiful. :p[/QUOTE]
I've never used the D# in the bass either, but I love that voicing of Amadd9, it's great. I use it all the time.

[QUOTE=Kage;13291307]That's simply an Amadd9 with a D# in the bass. A great voicing though.[/QUOTE]

Yeah, that's the Jazz notation of the polychord. The notes (stacked in thirds) are B - D# - (f#) - A - C - E (with the F# omitted). That makes it a B13 in first inversion (D# in the bass); or a V13 of V. It progresses to G#m (G#-b-D#) which is a really weird chord to use(functions as a V with a major 7th in first inversion (E) - G# - B - D#) but it flows nicely into Am . G# pulls to A and D# pulls to E. V chords don't typically have major 7ths, but hey; this ain't Beethoven. :thumb:

Now that the classical rubish is outta the way....it's an Amadd9/D# :P

[QUOTE=pate;13294057]Fix'd.[/QUOTE]

Isn't that how most songs are written?

They have riffs. They "paste" them together...

I'm sure 20 minutes of the same riff would be great.

[QUOTE=Symbolic;13294439]Isn't that how most songs are written?

They have riffs. They "paste" them together...

I'm sure 20 minutes of the same riff would be great.[/QUOTE]

Uh, sometimes bands don't use riffs at all. And sometimes, bands keep the riffs in key so they flow well together, or at least make the changes moving rather than jarring between keys, or to make the song feel like it's going somewhere, rather than just switching between riffs. Which is what BRI feels like, cool riffs though.

Personally I'd pick a well written song, this includes adding the vocals along with the instruments in seemlessly to produce something greater than the sum of it's parts. Preferably all the instruments doing different and interesting things, this includes the vocals.

This to me is great songwriting, especially if the song has tension, and then releases it and the song actually goes somewhere. A collection of riffs is rarely guaranteed to have this effect, and is not necesserally good songwriting, no matter how good the individual parts are.