You’ve already heard their track “The Devil’s Orchard,” and now’s your chance to hear all of Heritage, the new album from Swedish prog-metal titans Opeth. On first listen, the new LP, Opeth’s 10th, is the band’s most prog and least metal. Extended pieces of it could’ve come from the Mars Volta, at least if we didn’t hear the pastoral voice of frontman Mikael Åkerfeldt floating through. Other bits actually sound funky, which is not a word that could’ve ever been associated with this band. The whole album finishes up in a brisk-for-Opeth 57 minutes, but it covers a whole lot of aesthetic ground in that time. The album is streaming at NPR; what do you guys think of it?
Heritage is out tomorrow on Roadrunner.
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Seems like everytime I read an annoying, shitty comment these days, it comes from this theduchessofthomyorke guy.
Seems like everytime I’m receiving a really intense, great helping of dome, it comes from this smokeallyouwantandseetheplanets’ mom.
Sorry Scott, I know you said no more bj/mom jokes but considering my girlfriend recently passed away, I really am not in the mood to be taking anyone’s bullshit right now.
^just because you don’t listen to it doesnt mean others don’t. This album is HARDLY “metal”.
Back on topic, I think the album covers A LOT of grounds. Not what I expected, but I’d rather them put out something like this than have them rerelease the same album over and over like so many other bands do. The album will probably grow on me more as I listen closer. My only gripe is that the recording of the album sounds like it’s a live jam rather than professionally produced, but that’s probably because the album reflects so much of their 70s prog rock roots. Anyways, it’s very interesting and different to say the least.
I half agree with this. It sounds pretty fantastic if you ask me. It’s much more alive and filled with so much more space and depth than previous albums. Their past stuff was very one dimensional and everything was a little too hi-fi for my taste. I’m pretty much done with listening to bands who are trying to compete for the clickiest, most in-your-face drums possible. I want some life and soul in my recordings and this did just that. It took Opeth from an over-produced cliche to something really cool and groovy. Considerably less “metal” than any of their past works which will be a bummer for a lot of fans, but a great album none-the-less.
Is the first album produced by Akerfeldt, maybe that’s the cause of the vintage non-professional sound. And I’m happy with the result
Recorded in the same studio ABBA did all of their masterwerk, prior to opening Polar Studios.
Why would anyone dislike this? It’s a fact. Read the Decibel article with Mikael Åkerfeldt. IT WAS RECORDED IN THE SAME STUDIO THAT ABBA USED IN THE 1970s.
Is a great album, It sounds to me like an acoustic version of Opeth, although I miss the death growls
I’m sure there are those who would disagree, but I believe that Watershed was a high mark in Opeth’s progression. I’ve always thought highly of Damnation/Deliverance, Ghost Reveries, and – of course – Blackwater Park. The first four albums aren’t exactly my style, but I think I’m going to play those ones again to get a new perspective on Heritage. I do find it funny that Mike refers to some of his early lyrics as “black metal nonsense”.
I’ve been a long time fan of Frank Zappa, which has allowed me to appreciate odd tempos/scales/etc and quite a few styles of music. I don’t think I can get behind the new album quite as enthusiastically as the previous one, but I’m going to listen a few more times to take in the scope of what they’re doing.
I feel the x-factor that’s missing from Heritage are the bluesy and heartfelt guitar leads/solos from Mike (such as Face of Melinda and Ending Credits). That’s the aspect of Opeth that I try to incorporate into my guitar playing.
Rise of the Tyrant (by Arch Enemy) was true genius – a solid listen start to finish – but the follow up did absolutely nothing for me. The most recent In Flames was fairly good, and probably better than the last one, but just doesn’t feel as awe inspiring as Reroute to Remain and Soundtrack to Your Escape.
I find it humorous how there’s at least one commenter per website complaining about how Morbid Angel’s new one is garbage. I should probably just listen out of (morbid) curiosity.
What is happening to European metal? I guess that’s the problem with Progressive music…there’s progression, but who wants Watershed 2.0?….ok, maybe I do just a little. =D