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Opeth Writing For A New Album!


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Eternal Rains Will Come is out there. I like it much better than Cusp of Eternity. The Damnation vibe is awesome. This album can't come soon enough!

Yeah, I'm loving this new one even more!! The intro is pure classic italian prog.

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Yo ducky, what's with the mummies now?

Well in another thread a young lady objected to the young girl in my sig because I'm like 14 years older than her so I found a new girl more appropriate for my age!

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Yo ducky, what's with the mummies now?

Well in another thread a young lady objected to the young girl in my sig because I'm like 14 years older than her so I found a new girl more appropriate for my age!

To quote a past member signature, "Not sure if like". :LOL: :lol: :LOL:

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Yo ducky, what's with the mummies now?

Well in another thread a young lady objected to the young girl in my sig because I'm like 14 years older than her so I found a new girl more appropriate for my age!

To quote a past member signature, "Not sure if like". :LOL: :lol: :LOL:

I'll change it back eventually...

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So I heard the new album (you can probably guess how) and I like it considerably more than Heritage. It's a lot more energetic, varied, and simply more enjoyable overall. Some parts feel a bit too similar to what they've done in the past but there are enough new ideas to offset them. Overall, I think this is what should have come after Watershed. Gonna have to listen a ton more to give a full review.
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I was listening to Heritage today and while I do like it I do agree it lacks punch and power and energy and the production is too deliberately retro. There's some nice songs and parts of songs on there but it's all a bit too low key. Certainly that's how I felt listening to it today. I put Mastodon's The Hunter on right after it and it blew it away and in fact so did White Wizzard's Flying Tigers album which I listened to before it.

 

I think an album like Ghost Reveries or Blackwater Park, these albums TOWER above Heritage like Lovecraftian Gods.

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I think an album like Ghost Reveries or Blackwater Park, these albums TOWER above Heritage like Lovecraftian Gods.

Absolutely. Heritage is very good but it's by far my least favorite Opeth album and I'm rarely in the mood to listen to it. The new album, however, is likely to get a lot of repeat plays from me.

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I think an album like Ghost Reveries or Blackwater Park, these albums TOWER above Heritage like Lovecraftian Gods.

Absolutely. Heritage is very good but it's by far my least favorite Opeth album and I'm rarely in the mood to listen to it. The new album, however, is likely to get a lot of repeat plays from me.

Aye!

 

:haz:

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I'll save listening to it for when the album is legitimately release. I'm more occupied with listening to stuff that has recently come out that I still need to listen to (i.e. Wolves In The Throne Room and Boris.) and other recently released albums that I want to go back and listen to again (Mastodon and Anathema) and see if they hold up well. But from the two songs that have been leaked to the internet, I think I might like it significantly more than Heritage.
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Good interview with Mikael:

 

For a while, nobody sounded like Opeth. The Swedish death metal/prog rock hybrid dealt out long, two-tone horror stories in a song form best described as chiaroscuro, alternating between prog-rock ballad and meaty melodic death metal pummel, usually multiple times within the same song. Unlike so many progressive metal bands, Opeth knew how to ride a groove for a satisfying length of time, as well as how to write a good hook. It was a winning formula, one that guitarist/vocalist/lyricist Mikael Åkerfeldt rode to minor stardom on the Roadrunner Records roster.

And then there was nobody good that sounded like Opeth except Opeth. Circa 2009, every D-list, so-called progressive metal band in the world was tossing clean-sung acoustic passages into their songs with utter disregard for, you know, songwriting. At that point in time, Opeth had stopped altering their sound, getting maximum mileage out of the ‘prog’ genre tag without actually progressing their sound. Fortunately, the band was still writing instant-classic albums. So, to these ears, their saccharine knockoffs made Åkerfeldt’s classic Coke formula all the more valuable.

And then Opeth didn’t sound like Opeth. In 2011, Mikael stopped growling, laid off the distortion, and released Heritage, Opeth’s second non-metal album after 2003’s Damnation. It remains a controversial record. It’s not as reviled as, say, Cold Lake or Saint Anger, but invoking its name has the power to conjure vitriol.

 

http://www.invisibleoranges.com/2014/07/interview-mikael-akerfeldt-opeth/

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Gave it a first listen tonight.

The songwriting is focused and solid, so YEAH, the "Heritage Blundering Factor" is out of the window. The production is crisp and clean, with the drums VERY prominent. Actually, the thing you hear the less is the guitars! There are some good solos, but the rythmic work is barely audible behind the Hammond and the Mellotrons. The drums are very Genesis "Selling England" era. For the first time, it seems to me the new drummer guy outsteps Lopez's shadow.

All in all is a good sonic experience, it's a real trip of the mind just as every Opeth album should be. The quest for crescendos in the 2nd half makes it sound like Anathema in certain parts. Still, I don't think I will develop a love bond just like I did with Damnation and BW and SL. Maybe I'm outgrowing Opeth.

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Interesting review - I'm surprised he rated it 4/5 though based on his comments (3/5 would have seemed more in line)

 

I listened to the whole disc; I was a bit surprised at just how mellow alot of it was - from the initial review I expected a heavier disc than Heritage. Funny thing about those pesky expectations! Like the more recent review, I too was a bit dismayed about some parts sounding like previous work - though this is very generalized, I pick up on certain grooves / rhythms that were used once before... Overall, it is a pretty unique work and I have to say that, upon first full listen, I like it. It may be a grower. The last half of the disc is pretty epic. Keys play a much more prominent role, vocals are front and center.

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