Opeth  – Porcelain Heart

Nota: Melodia este mai mult instrumentala, dar oricum mi-a placut destul de mult. Sper ca va placut si voua.

Last night was Amon Amarth, the Viking Death Metal band from Sweden. I went with a few friends, one of whom hadn’t been to a metal concert before, let alone a death metal concert.

So, we got into it, deep in the crowd, and it was rough, rougher than anything at Opeth. Every song had more moshing than eaven the heaviest Opeth song, it was intense.

Johaan, the singer, was great, really funny, great crowd talking. They were all great, good performers plus the playing was top-notch. They played a lot of great songs, a few from the recent albums, a few older things, a good mix, I was very happy.

We got out, soaked with a variety of sweats, and it was raining outside, which was pleasant, considering how hot we were. It was good, fun.

Your Sweaty God of War,

TDE

Last night was Opeth and it was as rough, brutal and beautiful as promised. I suppose it didn’t quite hit me as hard as last time since I had some concept of what it was like to be in a crowd like that, but it was still intense.

Despite the roughness of the crowd, the atmosphere was great, everyone was very friendly; people helped each other up, someone apparently picked up another person’s watch which had fallen, etc. Great crowd, makes me proud, sniff, etc.

The band were, of course, amazing. They started with Windowpane, one of their softer songs, which was great, everyone enjoyed it, it was very chilled and cool. Then they played the opening for Ghost of Perdition and it went nuts, crazy fun jumping around. They played a lot of great songs, a nice mix, and they ended with Deliverance, which was insanely good.

Mikael was, as always, hilarious and got the crowd going well. THE HOOK!

Anyway, I don’t have much more to say other than that it was a great concert, a great crowd, a great band.

Your hayfeverish pirate,

TDE

…jag återigen har fastnat i Opeths värld efter mitt inlägg om mörker,
och för att väga upp den simpla melodin i mitt förra inlägg:

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I didn’t end up rambling last night and I’m not going to do it now, but the topic will most definitely be discussed at some point.

For now, I’m going to see Opeth tonight with a few friends, which should be amazing. The best gig I’ve been to was Opeth last time they were here, really brilliant. Amazing violence and beauty, probably some of the most evil music out there right next to the most calming, cool, chilled out bits. Anyway, my favourite album ever is Ghost Reveries by Opeth, so check it out.

So, yeah, I’ll no doubt have some ranting to do later tonight when I return home and am unable to sleep. Talk to you then,

Your beauty-pageant fistfight,

TDE

Deliverance (2002)

El grupo se había afianzado, con Mikael, Martin Méndez y López y Peter. Habían conseguido conjurarse y formar el sonido Opeth, que iba creciendo poco a poco en todo el mundo. Deliverance, un álbum que volvía a antaño con toques más oscuros y canciones de 10 minutos, no tendría el éxito de su antecesor obviamente, pero en la mayoría de temas, por no decir el trabajo completo, Opeth muestra pequeñas y pocas, pero existentes cambios en su manera de componer. La experimentación, puesto que era pequeña, ayudaría a entender mas el futuro que tomaría el grupo, pero sin dudo el camino siguiente sería totalmente otro.

Damnation (2003)

Dejando atrás casi todo el Death Metal que les acompañó siempre, Opeth decidió sacar con este Damnation, un álbum muchísimo más melódico, y de carácter progresivo como siempre, pero encarado mas al rock setentero con una clara presencia de sintetizadores y experimentación en sus melodías que traería sin duda alguna, uno de sus mejores temas lentas, llamados To Rid the Disease. Sus 3 primeros temas, ya te introducen en el enésimo mundo donde Opeth te  tele transporta, con el magnífico y enorme primer trió de canciones llamadas Windowpane, In My Time of Need y Death Whispered a Lullaby, respectivamente.
La carrera de Opeth había tomado por unos años un parón, y la experimentación se adueño de las mentes de los miembros. Y con gran éxito, ya que parecía que todo lo que Opeth componía estaba dotado de algo divino, de un poder de creación admirable para una mente humana.

Ghost Reveries (2005)

Recuerda en varias partes, este Ghost Reveries al grandioso Blackwater Park. Temas como Te Ghost of Perdition, Isolation Years o la célebre The Grand Conjuration son pruebas de que con este álbum Opeth tenía mucho que decir aun y sobre todo con la llegada de un nuevo teclista como Per Wiberg, que añadiría mucha más profundidad musical a la composición de Opeth. En cuanto a la banda, pasarían algunas cosas, que bien podrían determinar el futuro de los suecos. Una de ellas fue cuando se anunció después de casi 10 años, la salida de Martín López, batería del grupo, alegando una enfermedad sanguínea y problemas por “ataques de pánicos”. Bien es sabido después que la verdadera razón fue por diferencias insalvables que mantenía con la actual discográfica, Roadrunner Records. Su lugar sería ocupado por Martin “Axe” Axenrot. Por si no fuera poco, una de las bases importantes de Opeth, como era Peter Lindgren abandonaba la banda por no sentirse con fuerzas de seguir dándolo todo después de 16 años de duro trabajo. Su posición sería remplazada por Fredrik Åkesson, providente de Arch Enemy.

Watershed (2007)

Pese a no haber profundizado tanto en este álbum como en otros, se nota un cierto cambio de aires en Opeth. Mucha más melodía, suavidad que roza la superficie pero no profundiza. Este es el primer álbum, que pese a falta de algunas escuchas, no acaba de gustarme. No podría destacar ninguna canción tampoco, y espero, que como todas las cosas de la vida, necesita su tiempo para acomodarse, no obstante esperemos que los nuevos miembros acaben conjugando buenas canciones como lo hicieron en el pasado, bajo la magnificencia de la gran mente musical  de Mikael Åkerfeldt.

Hay que decir que ha costado y mucho hacer esta reseña discográfica y más siendo Opeth una banda de Metal/Rock Progresivo, pero he hecho lo máximo que mi capacidad musical me permitía. Espero que os guste y disfrutéis de tal grupo.

Artista - Opeth
País – Suecia
Género – Metal/Rock Progresivo
Web – Official – Myspace

Aka les dejo un disco de Opeth para pasar un buen rato:

1.-Bonightod.mp3

2.-Fece of Molinda.mp3

3.-Godheads Lamont.mp3

4.-Moonlapro Vertigo.mp3

5.-Serenity Pelmeod Death.mp3

6.-The Moor.mp3

7.-Whlio Cluster.mp3

Parte 1: DESCARGAR

Parte 2: DESCARGAR

no se les olvide comentar eee!! va, = cualquier desperfecto con los link’s no duden en reportarlo camara!!! “este post caduca en: 95DIAS”

Till veckans tema i MusikFoto var det frestande att välja någon av 80-talsklassikerna Shot In The Dark med Ozzy Osbourne eller Rainbow In The Dark med Dio; eller varför inte den suveräna Fear Of The Dark med Iron Maiden? Jo, jag har lyssnat mycket på Opeth de senaste dagarna, och oavsett om de tar i med de värsta dödsmetallvrålen eller spelar sina lugna låtar så finns mörkret alltid där. På ett skönt sätt tycker jag… Vad vore ljuset utan mörker?
….Jag har valt ut två lugna låtar, så luta er tillbaka och njut av mörkret och Opeth.

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I searched online for Myanmar metal stuff last night and found a forum. With great expectations, I clicked on the link.

What I found?

They were talking about… nu-metal??? Yes, nu-metal. Frigging hell mallcore stuff like Slipknot and Marilyn Manson. There were even people who mentioned Linkin Park and Flyleaf.

Seriously! There was nothing on it but mallcore. -.-

Next one was a blog. He was talking about Slipknot and how much he likes them and on another blog was an article on Myanmar metal scene and the author was talking about Bullet For My Valentine, Avenged Sevenfold and Trivium. Frigging Metalcore.

EVERYTHING HERE IS JUST NU-METAL AND METALCORE????????????

-________-

Why can’t they just get out of this whole mallcore thing??? Why won’t they step deeper into the depths? WHY?????

There were even some people who said,”Slipknot is Death Metal”. Ya, go die. It pisses me off when I hear people saying crap like that.

Mallcore, Nu-metal, Metalcore, BFMV, A7X, Marilyn Manson, BMTH, blah blah blah and it goes on and on and on in a never finishing mallcore whirlpool. This is what’s happening  in Myanmar!!!!!!!!!!!!!!!!!!!!!!!

This should end.

Metal albums aren’t that rare anymore. You can pretty much buy them here. (Last week I got Black Sabbath:The Dio Years and Megadeth’s Endgame.) Or you can download them via Mediafire or 4shared (which I usually do).

Still people are still drowning in the mallcore whirlpool… labeling themselves “metalheads” with Slipknot songs in their mp3 players.

It’s time to ditch out mallcore people! Ditch it out and explore into the depths of Metal!

Compare it! Compare and listen! Compare Slipknot, Marilyn Manson, Korn, Bullet For My Valentine, Avenged Sevenfold, Bring Me the Horizon, Atreyu (and whatever mallcore/metalcore/nu-metal stuff) to Iron Maiden, Death, Mayhem, Children Of Bodom, Judas Priest, (old) In Flames, Slayer, Dio, Black Sabbath, Kamelot, Gorgoroth, Blind Guardian, Iced Earth, Dark Tranquillity, Behemoth, Amon Amarth, Amorphis, Sonata Arctica, Opeth, Deicide, HammerFall, Moonspell, Venom, Testament, Morbid Angel, Candlemass, Exodus, My Dying Bride, Datkthrone, etc. Compare mallcore/nu-metal/metalcore to Death Metal, Black Metal, Thrash Metal, Progressive Metal, Power Metal, Melodic Death Metal, Blackened Death Metal, Doom Metal, Traditional Heavy Metal, Symphonic Metal, Gothic Metal, etc. AND SEE THE DIFFERENCE!

\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/\m/

Damnation is Opeth’s seventh full-length studio album, released in April 22, 2003, following the band’s previous album Deliverance the year before. The album was a radical departure from their typical death metal sound and into the much softer, 1970s progressive rock genre. The album was critically acclaimed and boosted their popularity, leading to the release of Lamentations on DVD in 2004.

Tracks

1. “Windowpane”
2. “In My Time of Need”
3. “Death Whispered a Lullaby”
4. “Closure”
5. “Hope Leaves”
6. “To Rid the Disease”
7. “Ending Credits”
8. “Weakness”

More @ Wikipedia

Buy on Amazon: Damnation

Blackwater Park is the fifth studio album by Swedish progressive death metal band Opeth. The album was released in February 27, 2001 on Music for Nations and Koch Records. The album marks the first collaboration between Porcupine Tree guitarist Steven Wilson and the band, as Wilson had been brought in to produce the album, which led to a considerable shift in Opeth’s musical style.

Blackwater Park did not chart in North America or England and had two singles released from it: “The Drapery Falls” and “Still Day Beneath The Sun”. Blackwater Park was highly acclaimed on its initial release and has been praised by critics, with Eduardo Riviera of Allmusic stating that the album is “surely the band’s coming-of-age album, and therefore, an ideal introduction to its remarkable body of work.”

Genre: Progressive Death Metal, Progressive Rock

More @ Wikipedia

I was supposed to write an essay of 2000 words for my academic writing class and study for my organic chemistry test tomorrow. Instead, I decided to create my `life throughout icons`. Thanks to Deniz Cem Önduygu for his brilliant idea, I must admit how I always liked his ideas and designs. I’d say: check out his blog out for a few seconds. You’ll love it. Full view is encouraged, by the way.

Okay, I think this needs a little explanation. I could have written the dates from 1990 to 2009 in same proportions, but there are many things that has happened between 2003 and 2009, I thought it would be better having more space for the past six years of my life. The importance of the logo in my life deepens as you go to the center of the pentagon. So you could say Opeth is one of the most important things in my life. Not really. But still, not that bad. On the other hand, I think the side between 1990-1995 and 1996-1999 is a little bit emptier than the other sides. I don’t really know why. I might have forgotten some important stuff, but I was in a hurry while doing this. Every logo you think that has an importance to you is nothing but a well drawn graffiti on the wall of your very own street. Please let me know if I have anything wrong with this digital art.

Ah. Now I remember an important one. Disneyland.

And that organic molecule is Caffeine.

On the mellower side of metal.

A7X, Pantera, Metallica, Shadows Fall, Opeth, Black Label Society, Dropbox and Godsmack

Enjoy

http://www.imeem.com/people/kiPwgaw/playlist/iSR0HEFj/mellow-metal-music-playlist/

Album : Ghost Reveries
Artist : Opeth
Year : 2005
Genre : Progressive
Performers : Mikael Akerfeldt (vocals, guitar), Peter Lindgren (guitar), Per Wiberg (keyboard), Martin Mendez (bass), Martin Lopez (drums).

The next cab off the rank is Opeth’s 8th album, Ghost Reveries. Now, I just want to make it plain and clear right now that I’m a huge Opeth fan, so expect a lofty score. For those who don’t know, Opeth are a critically acclaimed Swedish Progressive Death Metal band who make the most epic songs seem simple in comparison. As you would expect, my technical heart loves the sounds of progressive Metal and Opeth do it just about as good as anyone.

1. Ghost Of Perdition (10:29)
Score: 10
And what a great way to start the album, the first ever 10 I’ve given out. Ghost Of Perdition is one of my favourite, if not my favourite Opeth song. It’s a sweet mixture of headbanging heaviness and soft, crooning calm. I know, I’m a sucker for the juxtaposition, but it just clicks with me somehow. I should point out, I’m not usually a fan of death metal growls, but I have grown accustomed to Akerfedlt’s. It’s powerful and throaty, yet he manages it with such ease. And then there’s his singing voice, which I also just love. Now, being progressive Metal, there’s a lot of tempo shifts, with seemingly hundreds of different sections. There are too many to really single out, since they are all brilliant, which is why I implore you to listen to this song. In just this one song, you’ll find bonecrushing growls, machine-gun riffs, angelic singing, crafted acoustic pieces, a melodic bassline, heavyset drums and everything in between.  It’s such a masterpiece.

2. The Baying Of The Hounds (10:41)
Score: 9
There’s a definite European feel to this song. I don’t exactly know what that means, but it feels sophisticated. The great thing about Opeth is there ability to keep you on your toes. You’ll be listening to a section, enjoying it, of course, and the next thing you know, another section has started, completely different in feel, yet somehow related to the rest of the song, and you find yourself stuck between missing the part just gone and the section your currently listening to. Opeth songs definitely require mutliple listenings. The Baying Of The Hounds is just another example of this. Every section of this song is a finely tuned piece of prog metal, filled with ferocious heaviness and soothing breakdowns. I have nothing but praise for this song. Another must-listen.

3. Beneath The Mire (7:57)
Score: 9
The organs in the introduction really set the tune for this song. They have a creepy sort of elegance, which is kinda entrancing. The pace of this song is also slower than most, it could even be described as slightly jerky in the verse. However, the rest of the song is another example of magnificence. Like nearly every song in this album, there is far too many standout sections to single out. You gotta wonder how these guys come up with so many great sounding riffs and solos, and all within one song. It’s just utter awesomeness.

4. Atonement (6:28)
Score: 8
If you wanna talk entrancing, then this is your song. It’s a very mildly paced song, with a fancy riff that runs throughout. Behind this riff is a background of acoustics, percussions & piano playing which help embolden the pace and atmosphere. It only lacks the constant change of pace that the other songs before have demonstrated, and maybe that’s a good thing. It’s no good doing the same thing over and over again, no matter how good it is. Even if this is a weaker track on this album, it’s a dam-sight better than a lot of other tracks on other albums.

5. Reverie/Harlequin  Forest (11:41)
Score: 8
The biggest of the epics from this album, and really, it’s not far off in quality from it’s brothers (or sisters, I’m unsure if personified songs have a gender cliché). And really, it’s a true epic. Like seemingly every song on this album, they’ve squeezed every little bit of brilliance from the songwriting. The only thing could be brought in to criticise, and it’s a pretty piss poor criticism, is that it’s a touch slow. I know, not much to bark about, plus, I like slow at times, but maybe this one focuses on slow a little too much. Anyway, the song is great otherwise, Akerfeldt sings throughout most of the song and the musicianship is just excellent. One of those songs you listen to when you want to just relax.

6. Hours of Wealth (5:20)
Score: 8
The beginning of this track is truly beautiful sounding. I know it’s a strange thing to say on a Metal website, but beauty can come in many forms. After the very nice intro, it builds slowly into a rather good sounding acoustic song. Akerfeldt dips into the atmosphere of the song magnificently, carrying the same resonance and heart the rest of the song embodies. Maybe it’s a bit soft, but what’s the hardness without the soft to contrast it against. A track that feels more like a piece of artwork than a song.

7. The Grand Conjuration (10:21)
Score: 9
Another huge song, and another awesome piece of Metal music. Layers is the key to this song. Listening to it, you get an idea of the layers of sound that go into it. Especially during the chorus, where we have vocals, the bludgeoning riff, a softer more melodic riff behind it and then, to top it off, a bit of organ.  The depth is astounding. As with all of Opeth’s songs, the musicianship is top-notch and Akerfedlt gives it his all once again, keeping a good balance between his growl and his clean voice. Another great song added to this ever-growing tally.

8. Isolation Years (3:51)
Score: 10
The shortest song on the album, clocking in at under 4 minutes, however, the lack of time doesn’t tell on its quality. It’s also a slow song. A ballad, if you will. Actually, it may seem a bit too soft, but I think it’s fantastic. Akerfeldt performs masterfully and the music behind him is just as graceful. I suppose you could say it’s a guilt pleasure.

Final Thoughts:
As you might’ve been able to tell, I absolutely adored this album. Every single little shred of this record is brilliant. Not one song is less than great. The whole band produces a finely tuned piece of Metal for 45+ minutes without any hiccups whatsoever. Akerfedlt’s vocals are first class, his powerful growl working brilliantly with his awesome singing voice. As if it wasn’t amazing enough, he also contributes to the super riffs and solos throughout the album, along with his axe partner Lindgren. The forgotten guys like Wiberg, Mendez & Lopez also play a crucial role. Their playing is also of superhuman type quality, and you do notice, because without them, the songs would be soulless shells of what they are. Easily one of my top 10 favourite albums ever.

On the whole, it’s a modern metalmasterpiece filled with all the greatness that Opeth embodies. If you haven’t listened to it, you’re missing out on possibly the best Metal album of the decade.

High Points:

• Pretty much everything. From nearly top to bottom, this is pure brilliance.
  

Low Points:

• Ummmm….there’s only 8 songs?

FINAL SCORE: 98

Ed. Note: TBTS’s Great Expectations column discusses the recently released work of artists we love. The column addresses the questions, “Does the work live up to expectations?” and “Is the work a worthy addition to the artist’s canon?”

What a fascinating place Sweden must be, to have spawned two exciting, globally recognized, and radically different music scenes—a vibrant 80s synth-pop and post-punk revival centered on Labrador Records, and a thriving art/prog/black metal movement with growing crossover/mainstream popularity in the U.S. and Europe. A great band from each of these camps released new albums this month.

Katatonia — Night is the New Day

For me, Katatonia’s 2006 masterpiece The Great Cold Distance (TGCD) is on the short list of albums that changed the way I heard music. It almost single-handedly sparked my continuing and still-consistent interest in a certain strain of heavy music. Funny story (to me at least): I was recovering from anaesthesia on the day I first read about and bought the record online a month or two after its spring 2006 release, so I honestly don’t remember where I first read about TGCD. The next day, it was like it had magically appeared in my music library, as I only vaguely recalled acquiring the record the previous day.

Regardless of where it came from, it was a special delivery from the rock gods. The mixture of emotional melodicism, gothic atmospherics, monstrous riffs, proggy intricacy, and yearning “clean” vocals (with a few well-placed screams) made me an instant convert, and I gradually acquired a taste for a couple of even heavier variations of what Katatonia did so well. In addition to The Great Cold Distance, albums by Opeth, Agalloch, and Isis have become some of my favorites of this decade.

Thus far, the new Katatonia album Night is the New Day (NND) is not living up to the probably unfair expectations I had for their follow-up to TGCD. I have great respect for Popmatters metal reviewer Adrien Begrand, but I have to disagree with his assessment that NND is Katatonia’s masterwork. He calls it their Disintegration, but given the extent to which Katatonia have lightened up their sound and softened the metal brutality, I’m tempted to refer to parts of NND as their “Silent Lucidity.”

That said, there are some great songs on NND, and it seems to be garnering overwhelmingly enthusiastic positive reviews. It’s also better than the other Katatonia records (Viva Emptiness and Last Fair Deal Gone Down) that I picked up after falling in love with TGCD. So I’m going to keep listening, and I’m sure I’ll end up substantially enjoying Night is the New Day on its own terms one of these days.

The Mary Onettes — Islands

The Mary Onettes are my second favorite Labrador band, behind only The Radio Dept. (purveyors of some of the finest synth-pop songs of the decade). Whereas The Radio Dept. specializes in an irresistible blend of Pet Shop Boys danceability and Sarah Records fragility, The Mary Onettes fall squarely into the Church/Bunnymen camp of windswept, guitar-based, melancholy romanticism (still with a considerable synth presence in the Mary Onettes’ case).

And I love ‘em both. As with Interpol’s debut album Turn on the Bright Lights, I’ll defend the best of the 2000s revival bands as being ON PAR WITH their forebearers and therefore worthy of rising above any tags of “unoriginality.” I argue that when a new band immerses themselves in a genre so thoroughly and purely that they become an unassailable master of it, even if only on one album, the newer band deserves similar levels of respect afforded to the older bands whose influence they clearly bear.

Islands is no radical departure from the Mary Onettes’ first, self-titled album that, for me, achieved the heights described above. My early impression is that Islands does not feature as many instant classics as found on the first album (“Lost,” “Void,” “Under the Guillotine,” and “Still” are especially sublime tracks from the first record). However, “God Knows I Had Other Plans,” “Symmetry,” “Century,” and a handful of other Islands tracks are worthy heirs that reinforce the Mary Onettes’ status as one of the great pop bands of the latter half of this decade.