That's the thing. It sounds too perfect. I think Still Life/MAYH era production values were dirty, but not out of human comprehension.

Still Life production is much better than MAYH production. I think it was too muddy on MAYH, whereas Still Life was dirty, but crisp...

The acoustics on MAYH always sound behind everything, and the guitar harmonies clash too much and create a "wall-of-sound" effect that diminishes the value of the chords that Mikael uses. Still Life still has that metal production, but everything can be deciphered...

Demon Of the Fall is top notch.

I think it's funny how particular songs in some albums sound like completely atemporal and out of context when listened with the album... that happened to me with Iron Maiden and "the trooper", which seemed so out of context compared to the rest of the songs in "Piece of Mind".

That kinda happens with Demon of the Fall.

I think.

All the songs prior to Demon of the Fall flow into each other on MAYH, then the flow is interrupted by that weird howling noise. Maybe thats why it sounds out of context.

The Wall of Sound is one of the reasons I like the production on MAYH, it gives it a dark and chaotic edge over their more cleanly produced albums. Granted I think its too muddy in some places, but I think Opeth sound best dark and evil. This is also why I love Deliverance - Dark 'N Evil. :) :) :)

MAYH had much better production than the first two because it just sounded much more full than the past two. Everything sounded separate and it didn't mesh as well as the instruments did on MAYH. Still, Orchid and Morningrise are pretty amazing albums in their own respect.

Demon is one of the only tracks that stands alone well on MAYH in my opinion. I think that it fits the album perfectly, it just stands out more.

How the hell did Mikael write those insanely dissonant verse riffs? Not that they're difficult to play, or anything...just extremely unusual.

What time signature are those in?

12/8 or 6/4.

Which verse riff are you talking about? I don't think of that song as having a verse or a chorus...

"Silent Dance with Death..."

That part I think...

[QUOTE]The Wall of Sound is one of the reasons I like the production on MAYH, it gives it a dark and chaotic edge over their more cleanly produced albums.[/QUOTE]
Meh, I like the scrutinized production on new Opeth records; if I want raw production, I'd rather listen to Mayhem.

^^ Meh...I'd rather NOT listen to Mayhem, personally.

[QUOTE=Stormrider331;13406307]"Silent Dance with Death..."

That part I think...[/QUOTE]

Yep.

I should have noted that I listen to Opeth a lot more than I listen to Mayhem, heh.

[QUOTE=Deth;13403935]I was a little vexed because all the other shows I saw opened with Ghost of Perdition, and I was ready for the keyboard part, but they went into that instead.[/QUOTE]

Live, they leave out the intro keyboard. It just goes right into "GHOST OF MOTHER"

What, I thought that was just a clean guitar. :-/

So did I, but I figured that's what he was referring to. Anyhow, they leave it out live :p

It's clean guitar with keyboard in the back I believe.

"Harmonized" is what the music folks are calling it, these days. :p

Are you serious?

Really? Because I thought I found chords on the guitar that sound exactly like it a while back.

[QUOTE=Det_Nosnip;13405777]Demon is one of the only tracks that stands alone well on MAYH in my opinion. I think that it fits the album perfectly, it just stands out more.

How the hell did Mikael write those insanely dissonant verse riffs? Not that they're difficult to play, or anything...just extremely unusual.[/QUOTE]
The guitars play a very similar from low-to-high and high-to-low in that section, and they are in the same note, I think E, and then go to different places from there.

Very good riff nonetheless.

They're in D according to the transcription I've seen. Here's what I have:

Guitar 1:
D bass note is constant; Following melody is played in octaves (starting 1 octave up):
B, C#, D, / E, F, / G, A / G#, G, F /

That's the easy one.

Guitar 2:
D is contant again, but this time it's in the bottom octave of the melody.
Octaves:
A, E, F/ A / D, F, E / G#, G, F, D/

I mean, seriously...who comes up with this stuff? :p

Musical gods, that's who.

It must be because they're Swedish.

That's possible. :p

The main melody is pretty much just running up the diminished D scale...it's that harmony line with all the minor seconds and weirdness that gets me. It's also such an...atypical musical device, especially for a metal song.

I'm really curious what it would sound like done on strings. :eek:

*tries it*

I hate the sound of seconds. It's pretty impressive if they can make odd crap like that sound good.

Especially minor seconds. Worst interval ever.

That's actually my favorite interval.

oh well

You have a favorite interval? How oddly specific.

I <3 Opeth.

Doesn't Opeth use minor seconds quite a bit?