Opeth - Damnation
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Free Music Notes for Damnation
Free Music Review: Another Opeth masterpiece, this one from a differnt road
Hit: 5 Stars
Opeth and the D1/D2 projects, Deliverance and Damnation are a must have for any fans of death metal and progressive rock. Of the two albums, Damnation is by far the best! Deliverance is a great, solid Opeth album. However, Damnation tears it apart, but in a very different way. This album is great for all the wrong reasons most people have grown to expect from Opeth. This project was done with the intent of being a melodic, progressive rock album without distorted guitars and vocals. So, I was expecting to hear something in the neighborhood of Harvest, Face of Melinda or Credence style. Surprisingly, Damnation is nothing like any of their softer songs off of a full-length record.Damnation starts of with a catchy tune right off the bat. Windowpane is an amazing song with some really cool jazzy/bluesy guitar solos. The track is about 8 minutes long, and is the longest on the album. I really love how this song flows and really is one of the best songs on the record. "In My Time of Need" is the second track, featuring the coolest vocal melodies I have heard Mikael do in a while. I really like how the verses are sung in syllables. Something about "In My Time of Need" that makes this song one of the songs I will throw the CD in to listen to. "Death Whispered a Lullaby" is a good song, but no real big highlights to mention. "Closure", is another phenomenal Opeth track with a very cool, but unusual outro that ends abruptly into "Hope Leaves". "Hope Leaves" is probably the oddball song on the album; at least it was for me. This song really took a while for it to grow on me. What really takes me now with this song are the lyrics. For some reason I really love the opening line "In the corner, beside my window, there hangs a lonely photograph". I swear this song probably took about two months of growing time for me to truly appreciate the track! "To Rid the Disease" is the next track on the record. This is another exceptional song. I really like how they did the opening music on this track. "To Rid the Disease" starts out with a guitar intro and vocals without much going on from the rest of the band. Then at about 45 seconds into the track the drums kick in with a punchy bass line from Martin Menendez. This truly catches what my buddy likes to call the "Martin to Marin connection"! "Ending Credits" is the instrumental on the album. Not a lot to say... The song is good, and that's about it! Finally we get to "Weakness". Ok, if I wrote this review the day the album released, I'd tear this song apart. I had a lot of patience with "Weakness". The track is just, well, weird. I don't know if it is that the song grew on me, or whether I have just grown in musical tastes, but I'm really partial to this song now. I really can't give a great description of the song. It is more or less vocals sung through a tube microphone and tube preamp (at least that's my guess) to get a really clean yet distorted sound on the vocals. Then the vocals are sung over some keyboards with some guitar leads here and there. Unless you have heard the song, that probably doesn't make any sense. You really have to hear "Weakness" to understand it.
Damnation is a must have for Opeth fans, but more so for music lovers. This album is truly a masterpiece and I was shocked to see Opeth attempt to pull something like this off. I really think they have advanced musically as a band, and have put forth a groundbreaking effort at expanding their abilities and talents. I had the chance to talk with Mikael Akerfeldt a few months ago at a concert. He said that Damnation is probably going to be the one and only album like this for a while. The next album will be a mixture of the heavy and progressive stuff as we usually see from the band. I would really like a follow up to Damnation, but on the other hand this album would have never attracted me to the band in the first place. I really like the direction Opeth took on this record and I can say without a shadow of doubt this is one of the best pieces of work the band has done. I won't say it is my favorite album by Opeth, "My Arms, Your Hearse" holds that spot. I would even say "Still Life" probably follows as my second favorite album. But, Damnation is my close third. I think what I really like about this album is that it is catchy. It has great guitar work, appealing vocals and the stories are vast. I also appreciate the fact that Opeth is more or less a death metal band, and went against all odds and released a clean tone, progressive rock album. I cannot praise Opeth enough for releasing Damnation, and I highly recommend this album to anyone that is willing to give it an open minded chance.
Free Music Review: B-e-a-utiful. I could listen to "Damnation" for an eternity
Hit: 5 Stars
Anyone who is familiar with Opeth's past, especially their "My Arms, Your Hearse" album or even 2002's "Deliverance," should know that Opeth is primarily a metal band. That is on of the reasons why this album, "Damnation," is such a shock. The other reason is, even if Opeth weren't a death metal band, this album is absolutely breathtaking. The power chords, the yelling, the heavy drumming, the sudden, dramatic shifts and breakdowns...they're all gone. Instead, we get a much gentler and kinder side of Opeth, one which is just as talented and creative, but with (mostly) light acoustic strumming, cleanly sung vocals, percussion that is at just the right volume, an occasional piano, and very laid back tempos.
What makes this album even more of a surprise is that these eight songs were leftovers from the aforementioned "Deliverance" album. When fans heard of "leftover" songs, many were afraid that "Damnation" would turn out like Metallica's "Reload." This comparison couldn't be further from the truth. "Damnation" and "Deliverance" are two completely different albums, and (if you ask me) "Damnation" is better.
It's sort of hard for the listener to remember specific songs, since (unlike previous Opeth albums) "Damnation" is all one mood, and the melody weaves together most of the beginnings and ends of songs. But, these songs aren't all the same. If you listen carefully, you'll realize each of these songs have specific, distinguishing qualities and each one is pretty in its own way.
"Windowpane" is a good representation of the whole album. It has a very mellow and relaxed vibe and tempo, with vocals that wouldn't be out of place on a country music album. It also includes an instrumental middle, soft but catchy drum work (which includes plenty of symbols), and dwindling, light as a feather guitar work.
"In My Time of Need" begins with soft, muted staccato vocals, which later become uplifting. The guitarists again strum lightly (which sometimes results in the guitars sounding like a piano-as is common in this album), and the drumming gains speed near the end.
"Death Whispered a Lullaby" has more cleanly sung vocals, but here they are extended and makes Mikael Akerfeldt soar above the rest of the group.
"Closure" has a slight temp change, then the song builds and builds to a climax...that doesn't happen. Where you'd think there would be a climax, there is actually a soft breakdown. After this point, the song starts over again. The guitarists' playing gains momentum and becomes increasingly fast, but the song ends before there is another climax.
"Hope Leaves" has distant, pushed-to-the back, and almost spacey vocals. The vocals then come to the foreground when the drums begin, and the song ends by fading out with what sounds like a female choir singing.
"To Rid the Disease" has a mini-guitar solo near the front. A piano (this is the real thing, now) enters the mix, then leaves, then shows up again during the instrumental mid-section. The beeping guitar on this song is lower than usual (low enough that it could pass as a bass guitar.)
"Ending Credits" is an outstanding instrumental. It begins by fading in the instruments, and, when the instruments are fully audible, the listener realizes the drumming is sort of jazzy. Shortly after the song is fully faded in, however, a guitar solo begins and carries throughout the song. Meanwhile, the other guitarist is playing light, background music. This song could pass as a melancholy Sublime song.
"Weakness" has percussion which sound almost aquatic and vocals that are very dreary, thus making this song have a very dreamy feel to it.
So, there you have it. This is the prettiest and most atmospheric album of the year (2003). Unlike Godsmack's 2004 acoustic EP, "The Other Side," "Damnation" is more than just an alternative rock album (thus it is better than that album.) This C.D. is one that everyone can enjoy (not only Opeth or metal fans). It's great to listen to when you're just chilling, relaxing, at a funeral, or when you're stoned. The only drawback is you probably need to be well rested before listening to this album, because it's also a great album to fall asleep to. Also, as aforementioned, this whole album has just one theme, and that theme is very soothing, so this is the only Opeth album you should listen to AFTER (and not before) a wrestling match.
Free Music Review: An album that only Opeth could create!
Hit: 5 Stars
Damnation is Opeth's "mellow album" that was spoken of a lot during the release of their previous disc Deliverance. When plans to release both discs at the same time failed, Damnation was released separately which was a wise move in my opinion. Reason being, if it had come out as a double album it would have gotten compared to the heavier album way too much and also it would have been a bit difficult to listen to the album at one go. As a separate release, Damnation stands on its own and has its own traits. And, that's definitely what it deserves.This is a different Opeth album. It is also most likely going to stay that way as Mike Akerfeldt has pointed out several times that, in the future, they are going to explore different directions incorporating both their heavy death metal roots and the softer moments. The album is mostly acoustic and demonstrates Opeth's softer sides without ever relying on their heavier and more aggressive style. Hence, the originality and uniqueness of Damnation. For so long I always wondered what it would sound like if Opeth did an all acoustic record with Mike's almost angelic clean vocals, I always believed it would draw a lot of fans' attention, including those who do not listen to metal but only the late-60's and early-70's psychedelic and progressive rock releases. On Damnation, Opeth delivers its earlier 70's roots utilizing mellotrons and post-psychedelic atmospherics of bands like Camel, Yes and King Crimson. Some of the songs like "In My Time of Need" even employ similar production techniques thanks to Steven Wilson that is reminiscent of the old 70's LPs.
Steven Wilson of Porcupine Tree is once again at the helm of production and needless to say he's done a flawless job. It feels like he and the Opeth guys understand each other perfectly. Although the tunes are still penned by Mikael himself, the final touches of Steven Wilson are undeniable. Apparently the mellotron work and some of the atmospheric keyboard textures are his creations. As Opeth has a specific sound that is immediately recognisable, this advantage is taken to a higher level of sophistication with Wilson's awesome production job.
Damnation sees Opeth experimenting a bit further with vocal harmonies and arrangements. They have found a unique sound for every single tune yet managed to maintain the almost perfect unity all throughout the entire disc. The lyrics are mostly inspired from loneliness, despair, regret and depression caused by the end of a relationship. Needless to say they come across as deeply moving and heartfelt. The songs earn their dark tone not just through regular keyboards and synths, but moreso through Floydan guitar work that is layered as a warm texture on the compositions. In "Closure" some people may get the misconception that this is just one of those typical goth tracks with heavy keyboard work thrown in... well it's not. There's not a single keyboard work in there! It's the looped guitars that are playing notes next to each other without getting the least bit forced. The album consists of a culmination of incredible moments of beauty and brutality. Mike has a great voice for melodic singing. He sounds deeply emotive and affecting, and the overall vibe of the songwriting seems very natural and spontaneous. It's like they've all opened their doors and let whatever's inside flow out. I am fully convinced that this is one of those albums that only the Opeth guys could have pulled off. It's indiscribably beautiful yet still very dark, intense and moving.
This may not be the best starting point to get into Opeth, but it has already taken its place in their never-disappointing catalog. Here's a band that has yet to do something that I do not appreciate and Damnation actually ranks very high in my favourite Opeth discs.
Free Music Review: Of their finest...
Hit: 5 Stars
During Opeth's co-headlining tour with Porcupine Tree in Cleveland, singer/guitarist Mikael Ã...kerfeldt remarks, "For those of you Porcupine Tree fans who don't know what's going on, we are Opeth from Stockholm, Sweden. We are a death metal band. We believe in Satan." The crowd shared a laugh at Mikael's matter of fact statement, which was in the middle the set where Damnation was played in its entirety. Damnation is the much-anticipated "other half" of the contrasting set of recently released Opeth albums. 'Deliverance' released November, 2002, was a blistering record of heavy, blasting death metal while still retaining Opeth's signature sound, probably their heaviest recording yet. Damnation released April 2003, is obviously their softest recording yet. Always being heavily influenced by 70's prog rock, Opeth plug into the atmosphere found on earlier recordings by Pink Floyd and King Crimson and even hint at such singer-songwriters as Nike Drake and Joni Mitchell
I've heard statements like "Porcupine Tree is rubbing off on Opeth," or "Opeth is making Porcupine Tree heavier," or even "Opeth wouldn't be where they were right now if it weren't for Steven Wilson [Porcupine Tree]." This is entirely not true. The way that Steven Wilson came to become Opeth's current producer, producing not only Damnation, but also Deliverance and Blackwater Park, is that of an avid fan. Wilson was slipped a copy of Opeth's Still Life during an interview being told that Opeth were huge fans of the Tree. Wilson instantly hooked onto Opeth's progressive approach that was similar to the progressive genre that Porcupine Tree so obviously fell in. Thus, a professional relationship was born. Not only did Wilson produce the last three Opeth records, but he also played guitar, piano and provided backing vocals for each album. He even went so far as to write lyrics to "Death Whispered A Lullaby." Has he become the fifth member emulating what Sir George Martin was to the Beatles? Highly unlikely.
Opeth has never compromised their own sound as part of an ever growing Swedish metal scene, even with Steven Wilson at the boards. Opeth is not part of that scene and Damnation proves that. Full of soft acoustic passages and lush mellotron which graces just about every song, this is Opeth at their best. Warning: At the Gates fans looking for the trademark death metal growl should pick up the new Enslaved album. Here you will find Mikael's clean melodic voice soaring vibrantly with sorrow and sadness sitting on his shoulder (a lot of the album was written with regards to his grandmother's passing). One of the biggest moments comes in the closing track "Weakness" where Mikael proves his voice to be anything but weak only backed by a fender Rhodes and some subtle guitar playing. Highlighting the power of the bands softer side, this sounds like it could be a collection of "softer greatest hits," from the band, let alone part two of a pair of contrasting albums. Songs like "Windowpane," "Hope Leaves," and "Ending Credits" could easily fit on any of the previous six Opeth albums along side such classics as "Credence," "To Bid You Farewell" or "Benighted" the latter two even being featured on the bands current tour. Damnation has more in common with Red House Painters than Morbid Angel.
Mikael was trying to fool us all when he said, "we are a death metal band." Simply put Opeth is a progressive band. Progressive rock seemed to die along side the "album" in the late seventies, making way for disco and pop music. Opeth isn't reviving a movement to bring prog music back, they are and Damnation is their statement.
Free Music Review: sinister subtlety
Hit: 5 Stars
Extraordinary. That is the first word that comes to mind when I think of Opeth's "Damnation," the band's seventh full-length release, and one that is worlds removed from its forerunners. Gone are the hammering, deafening riffs that have become synonymous with Opeth. Absent is the guttural roar of singer Mikael Akerfeldt, another signature facet of the group. Yes, in many ways, this album seems nothing like any of its predecessors. And yet, the album is more similar to them than one might expect. Though its presentation is different, the material here is straight in line with the melancholy, ominous musings that have populated the band's repertoire on past releases. Only Opeth could make an album this mellow sound this menacing. In many ways, this sense of dread and apprehension is what makes the disc so comforting. This is a band that has not lost contact with its roots, but chooses to express them in a separate manner. Thus, the listener is drawn into Opeth's world of foreboding, set to the effective musical backdrop of lullaby-like placidity. "Windowpane" sets the mood well. An acoustic-sounding riff that lures you in gently then catches you off guard with the eerie content of its lyrics is the nature of this particular beast, one which rears its head on several occasions throughout "Damnation." Standout songs, which are hard to choose considering the superb quality of every single note that makes up this album, include the Eastern-tinged "Closure," a rare occasion of musicality and lyrical concept mutually reflecting, its companion piece "Hope Leaves," a simple yet complex showcase of brilliant melodicism, and the instrumental or, as Akerfeldt himself says, "total ripoff of the band Camel" song "Ending Credits." But the other songs are wonderful as well. "In My Time of Need" is a well-orchestrated exercise in staccato vocals, offset by a chorus that for some strange reason reminds me of the mellower music of Sir Elton John. "To Rid the Disease" proves, as Akerfeldt puts it, that "just because a song is mellower doens't make it any less evil." Amen to that, especially when the song in question is such a memorable piece of work regardless. And who can forget the Porcupine Tree frontman Stephen Wilson-penned song "Death Whispered a Lullaby," perhaps the most subtly sinister piece found on this album, though the creepily synth-laced closer "Weakness" is another contender for that title. All in all, "Damantion" is an exercise in paradoxical beauty, from its music to its artwork. Everything seems a little creepier now than it would have been had this album been overtly heavy in its execution and presentation. The players all bring to their roles a sort of wizened professionalism seldom present in music, much less heavy metal. Singer / guitarist Akerfeldt and guitarist Peter Lindgren keep the album flowing with a laid-back yet visceral sense of melody and pacing. Martin Mendez and Martin Lopez, on bass and percussion, respectively, back the guitars with a rhythmic precision unmatched. And all parties manage to add gentle nuances to their performances. As such, "Damnation" is somewhat of an anomaly in the metal portfolio. It is hard to belive that such a soft-spoken disc could be so powerful. But that is the very essence of Opeth; they can bend and not break and become all the more powerful for it. "Damnation" is not a flawless album, but it is just about as close to divine as music can get.