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Opeth …
I’m a fan for years now but the band didn’t get a real chance on our
site (except a concert review and a recent interview) because it was
clear that proggers were resented by the heavy intermezzi and the
rolling grunt. From time to time there were some voices rising that
rather liked the music. And, as Mikael told us recently during the
interview, “Damnation” is a CD that will be appreciated by the most
obdurate progfan. There’s no excuse for not buying this any longer.
It doesn’t mean that the band is selling out or that they want to
get round a larger public by all means but it’s just a natural
evolution from this collective of skilled musicians.
After the heavier “Deliverance” there’s now the quiet “Damnation”.
The music of Opeth has always been an achievement for which you
needed to spare some time. The mission for the listener was “getting
into it”, not a volatile in-between. And there’s no change for this
one, because the longer tracks still contain several atmospheres,
but the changes are very smooth and make this “Damnation” generally
speaking a lot easier to digest than the modal Opeth album.
Mikael Akerfeldt is a man with an open view on the (music)world. He
didn’t make a secret of his appreciation for adventurous progbands
of the seventies. Inspired by this period, he started to
occasionally compose fragments which became this “Damnation” album.
“Windowpane” is bursting with mellotron sounds, but has also a
Gilmourian guitar solo pasted on. I suppose I don’t need to tell you
that Akerfeldt has a beautiful, sensitive voice with a sad touch.
During the community singing, you can hear the influence of pal and
producer Steven Wilson.
“In My Time Of Need” could have been a Katatonia track. The chopped
off phrases of the vocals are a direct cross-breeding with Jonas
Renske. But then the song flourishes into Mellotron heavens again. I
would dare say that it’s a crossing between Pink Floyd and Porcupine
Tree. The choruses are so strong, that you can’t get them out of
your mind. And don’t underestimate the vibrating bass play of Martin
Mendez, who takes care of some beautiful marginal notes in “Death
Whispered A Lullaby” and is present in an entertaining but humble
way on the whole album. A bit later, there’s a special spacy guitar
eruption which, together with the floating keyboards, will even
bring every ascetic into the clouds. In “Closure”, I hear a relation
with Anathema, especially in the vocal style (Vinnie) and in the
classical, acoustic guitar playing. (Danny).
The timbre of this song evolves into some jazzy style and changes to
a friendly chaotism, it seems like a whirling jam session in
progland. Even almost acapella pieces appear, community singing like
CSN&Y and psychedelic outbursts for which Porcupine Tree (especially
in the early days and live) took out a patent for.
Slightly distorted vocals and fine guitar riffs are the ingredients
for “Hope Leaves”. The “crescendo” choruses are each time very
strong and believe me, it’s on these moments that this CD reminds me
of the latest Dan Swanö. After all, it’s six of one and half a dozen
of the other of rising talent up there in Sweden. Just check the
small writing on any Opeth, Nightingale and Katatonia CD! (yes, when
I notice that if 1 fish is frying, why not take the whole breeding
pond with it, haha)
The instrumental “Ending Credits” would be a beautiful soundtrack
for a documentary about all the beauty of the high north. With
images of Mother Nature and all those musicians, even the title
would be appropriate. And when the last sounds of “Weakness” have
faded out, I eagerly push the repeat button of my installation. The
fan of the early Opeth runs a high rish to be waiting for an
outburst, because this is QUIET. But it’s so marvellous, melancholic
and artful, that this feeling is merged into pure delight.
If you aren’t convinced now, you’ll never be. And I can’t help
mentioning: I feel a bit triumphant that you finally freak out for
musicians who are my heroes since long. And as they would have
written in Rolling Stone during the seventies: this album must be in
every record collection! |
