18:42 - flightoficarus86 The Mind's I is the best of the three I named. Again, I don't think they have made a truly "bad" album. Those just fall a little short.
18:40 - Eternity'sChild I think that The Mind's I is really good, but it took some time for me to like it. I don't like Projector and Skydancer.
18:24 - Fearmeister Thantifaxath is playing here in May. Excited as fuck
17:06 - flightoficarus86 The Gallery is also great. Took a while for that one to grow on me. Damage done was one of my OG introductions to the genre. I could probably play the whole album in my head.
01. The Leper Affinity 02. Bleak 03. Harvest 04. The Drapery Falls 05. Dirge For November 06. The Funeral Portrait 07. Patterns In The Ivy 08. Blackwater Park 09. The Leper Affinity [live][Legacy Edition bonus]
[Limited Edition bonus CD] 01. Still Day Beneath The Sun 02. Patterns In The Ivy II
[Legacy Edition bonus DVD] + 5.0 Audio Mix Of The Original Album + The Making Of Blackwater Park
Session musicians Steven John Wilson - vocals, guitars, keyboards, mellotron
Additional info Additional musicians:
Steven Wilson - vocals (on "Bleak"), guitar, pianos (courtesy of Snapper Music)
Markus Lindberg - egg shakers (courtesy of Madrigal)
Recorded at Fredman Studios.
Produced by Opeth and Steven Wilson.
Engineered by Opeth, Steven Wilson and Fredrik Norström.
Mixed by Steven Wilson and Fredrik Norström while overlooked by Opeth.
Mastered by Göran Finnberg at the Mastering Room.
Photos by Harry Välimäki.
Cover and booklet designed by Travis Smith and Opeth.
"The Leper Affinity [live]" recorded by Brent Carpenter & Pontus Norgren and mixed by Pontus Norgren.
The 5.0 mix on the DVD was done by Jens Borgen for Northern Music Company.
The documentary, "The Making Of Blackwater Park", was recorded, directed and edited by Fredrik Odefjard.
Passion. That's what Blackwater Park is all about. Pure, unadulterated passion. Forget that Opeth display musical ability and know-how that is rivaled by few. Forget that the ending to The Leper Affinity goes from what can only be described as one of the greatest jam sessions ever, to a beautiful, yet melancholic pianistic epilogue. Forget that Harvest is one of the greatest acoustic songs ever written. Forget that Blackwater Park contains the perfect metal riff. Forget that Mikael Akerfeld quite possibly has the best voice in all of music. Forget that every moment of this album will make you stand in awe of what you're hearing. Why should you forget all that? Because none of it matters.
There are few bands that dare to continuously expand their musical sphere with each release, expecting their fans to accept the changes - even fewer succeed. Mikael Åkerfeldt, song writer and front man of Opeth, has pushed Opeth to do so since the band's inception and perhaps it's this constant change, not giving the audience a chance to adjust to one particular niche, which keeps them from ending up like so many metal bands before them: repetitive and uninspired. 2001 was the year Opeth opened the floodgates of creativity and released what many believe to be their magnum opus, an album so hyped you might doubt its brilliance. I'm here to tell you not to doubt. This is Blackwater Park.
Put it this way, the term/adjective "melodic" itself is confusing enough, it's very redundant actually.
May be in the early 90's, someone wanted to use it to seperate Gothenburg/ Melodeath and Pure Death Metal as two different identities.
So whichever Death Metal band heavily used keyboards as part of the musical composition is categorized as Melodeath.
Still redundant !
Put it this way, the term/adjective "melodic" itself is confusing enough, it's very redundant actually.
May be in the early 90's, someone wanted to use it to seperate Gothenburg/ Melodeath and Pure Death Metal as two different identities.
So whichever Death Metal band heavily used keyboards as part of the musical composition is categorized as Melodeath.
Still redundant !
What the hell does it have to do with keyboards they have no bearing on whether or not something is melodeath, especially as many of the original Gothenburg albums were totally devoid of keyboards.
What's redundant in the term "melodic death metal" is the "death metal" bit, because melodeath tend not to have much, or any, death metal in (as opposed to actual death metal bands that use a bit of melody here and then, who aren't referred to as melodeath, hence the difference).
What the hell does it have to do with keyboards they have no bearing on whether or not something is melodeath, especially as many of the original Gothenburg albums were totally devoid of keyboards.
What's redundant in the term "melodic death metal" is the "death metal" bit, because melodeath tend not to have much, or any, death metal in (as opposed to actual death metal bands that use a bit of melody here and then, who aren't referred to as melodeath, hence the difference).
The more you talk the more you will expose your weakness in music !
1) What the hell does it have to do with keyboards they have no bearing on whether or not something is melodeath...
- I guess you don't know any hell about music ! Most of the time you can only choose either Keyboards or E. Guitars to act as the main role because both musical instrument have very estranged keys. Normally Keyboards is more melodic than E. Guitars.
2)...especially as many of the original Gothenburg albums were totally devoid of keyboards.
- May I have some examples from you ?
3) What's redundant in the term "melodic death metal" is the "death metal" bit, because melodeath tend not to have much, or any, death metal in (as opposed to actual death metal bands that use a bit of melody here and then, who aren't referred to as melodeath, hence the difference).
- Crap ! Don't know what are you talking about.
The more you talk the more you will expose your weakness in music !
I guess you don't know any hell about music ! Most of the time you can only choose either Keyboards or E. Guitars to act as the main role because both musical instrument have very estranged keys. Normally Keyboards is more melodic than E. Guitars.
What are you blathering about now? I've never said that keyboards are more or less melodic than guitars (not that that is true in every case either). Read what I actually said: melodic death metal is not incumbent on having keyboards. By your definition Nocturnus' 'The Key' album is a melodeath album because it has keyboards.
Quote: - May I have some examples from you ?
Sure
In fact Soilwork were pretty much the only one of the original big Gothenburg bands to keyboards around this time, and even then not in any significant way.
Quote: Crap ! Don't know what are you talking about.
Doesn't surprise me. I'm not even sure you know what you're talking about half the time.
What are you blathering about now? I've never said that keyboards are more or less melodic than guitars (not that that is true is every case either). Read what I actually said: melodic death metal is not incumbent on having keyboards. By your definition Nocturnus' 'The Key' album is a melodeath album because it has keyboards.
Thanks for your prompt reply.
And also thanks for helping me to rectify your own mistakes.
- As for the albums mentioned, Dark Tranquillity (Osmose), In Flames (Nuclear Blast), At The Gate (Earache) and Arch Enemy (Regan), all are considered Death Metal ! There was NO Gothenburg in that era. Their direction changed to more Keyboards- orientated Gothenburg afterwards.
- Without you their music labels didn't even know they have signed a Gothenburg band before !
And also thanks for helping me to rectify your own mistakes.
- As for the albums mentioned, Dark Tranquillity (Osmose), In Flames (Nuclear Blast), At The Gate (Earache) and Arch Enemy (Regan), all are considered Death Metal ! There was NO Gothenburg in that era. Their direction changed to more Keyboards- orientated Gothenburg afterwards.
Not even going to give a response to this comment. Just going to quote it so people can see it and have a good laugh.
!J.O.O.E.! : By your definition Nocturnus' 'The Key' album is a melodeath album because it has keyboards ?
- Not really, Keyboards are used to create the space-atmosphere in Nocturnus's album, nothing to do with melody...please bear in mind Keyboards are not piano but synthesiszers, most of the time it was used for the sake of creating certain kinds of moods that can not be done by other musical instruments
By your definition Nocturnus' 'The Key' album is a melodeath album because it has keyboards ?
- Not really, Keyboards are used to create the space-atmosphere in Nocturnus's album, nothing to do with melody...please bear in mind Keyboards are not piano but synthesiszers, most of the time it was used for the sake of creating certain kinds of moods that can not be done by other musical instruments
didnt you just disvalidate your own statement by this.response?
Constantine - 28.03.2014 at 15:26
I can't get this album.. I hate some song parts to the point when the songs get to that part I just change song (talking about 2nd half of blackwater park)
A great opeth record but not the best.. and certainly not deserving top spot of metalstorm..
What are you blathering about now? I've never said that keyboards are more or less melodic than guitars (not that that is true is every case either). Read what I actually said: melodic death metal is not incumbent on having keyboards. By your definition Nocturnus' 'The Key' album is a melodeath album because it has keyboards.
Thanks for your prompt reply.
And also thanks for helping me to rectify your own mistakes.
- As for the albums mentioned, Dark Tranquillity (Osmose), In Flames (Nuclear Blast), At The Gate (Earache) and Arch Enemy (Regan), all are considered Death Metal ! There was NO Gothenburg in that era. Their direction changed to more Keyboards- orientated Gothenburg afterwards.
- Without you their music labels didn't even know they have signed a Gothenburg band before !
Sorry but you're totally clueless.
Gothenburg is a major city in Sweden where the genre started. At The Gates and In Flames are both from that city. Dark Tranquillity and Arch Enemy are also from the vicinity.
In fact Soilwork were pretty much the only one of the original big Gothenburg bands to keyboards around this time, and even then not in any significant way.
Soilwork were certainly not one of the original big Gothenburg bands. They were one of the second wave along with The Haunted, Dminesion Zero, Carnal Forge, Ebony Tears etc
By the time Steelbath Suicide came out, At The Gates had long broken up, In Flames was up to Whoracle, Arch Enemy up to Stigmata, Dark Tranquillity were getting ready to release Projector etc.
Soilwork were certainly not one of the original big Gothenburg bands. They were one of the second wave along with The Haunted, Dminesion Zero, Carnal Forge, Ebony Tears etc
By the time Steelbath Suicide came out, At The Gates had long broken up, In Flames was up to Whoracle, Arch Enemy up to Stigmata, Dark Tranquillity were getting ready to release Projector etc.
Hmm that's true, I could have sworn they were a bit earlier than they actually were. In that case then keyboards really weren't integral to the (original at least) Gothenburg sound.
Hmm that's true, I could have sworn they were a bit earlier than they actually were. In that case then keyboards really weren't integral to the (original at least) Gothenburg sound.
It's one of the reasons I've never understood modern MDM's obsession with keyboards.
When I was getting into melodic DM around 97-98, keyboards really weren't there other than occassional intros. CoB were around but were almost regarded as a gimmick.
Damn, This album is a great grower, took me atleast 5 listens to make the production sit with me and then really starting to enjoy the album now. The only thing that was obvious from the beginning is that the title track is a absolute masterpiece.
Hating beautiful and complex music just for the sake of hating is really something I dont understand. If they were all living in 5 story mansions, driving in limo's, drinking champaigne and being blown constantly by 1000 dollar hookers...but thats not the case
I think that when there is an excessive amount of praise for something, people that don't share in the appreciation are automatically going to feel pushed in the opposite direction. At least, that's my experience in internet forums. This is a favorite album for many of us, and so those that don't like it are in many cases going to respond more aggressively than they would to some random obscure album that you love but isn't making any "best ever" lists.
I love Blackwater Park, but I've been a fan long enough to see a lot of people trash it, and trash Opeth in general. As early as Deliverance, there was a pretty vocal faction of people that couldn't stand them. That's fine, too. If it ever bothers you, ask them what they like. Odds are, you'll poorly enough of some of their choices that you realize how little their opinion matters.
I think this is by far their most complete album, in that it feels more focused, driven, intense, and purposeful than the rest of their discography. There are the standard meandering moments seemingly typical of a prog band, but on the whole they reign in the technical overload and instead create a much more encompassing atmospheric album that highlights their songwriting prowess. My typical complaints about the acoustic breaks and clean vocals still stand, but this is a refined and mature piece of work. I understand why people have come to appreciate it so much, but for me - as with all Opeth albums - it doesn't lend enough weight to the extreme aspects and I find their acoustic work rather mundane.
I think this is by far their most complete album, in that it feels more focused, driven, intense, and purposeful than the rest of their discography. There are the standard meandering moments seemingly typical of a prog band, but on the whole they reign in the technical overload and instead create a much more encompassing atmospheric album that highlights their songwriting prowess. My typical complaints about the acoustic breaks and clean vocals still stand, but this is a refined and mature piece of work. I understand why people have come to appreciate it so much, but for me - as with all Opeth albums - it doesn't lend enough weight to the extreme aspects and I find their acoustic work rather mundane.
Totally agree amigo. Still Life was close but this is the one where it all comes in near perfectly.
Still Life is easily better than this album. Even as an Opeth fan who owned this the day it was released, I must say it is a very good yet overrated disc.
Hating beautiful and complex music just for the sake of hating is really something I dont understand. If they were all living in 5 story mansions, driving in limo's, drinking champaigne and being blown constantly by 1000 dollar hookers...but thats not the case
Ironically, i love Opeth. I just prefer Damnation and My Arms Your Hearse over BWP, just because IN MY OPINION they are better in composition and the use of both: melodic and heavy stuff.
Hahaha, the whole thing bugged! Calm down! It's good, but not the best Opeth album IMO.
I don't care about your opinion, you can think whatever you want. It's okay for you to think this album isn't that great. I was just wanting you to be consistent. Now that your rating is fixed to match your spoken opinion, there's no problem.
Hahaha, the whole thing bugged! Calm down! It's good, but not the best Opeth album IMO.
I don't care about your opinion, you can think whatever you want. It's okay for you to think this album isn't that great. I was just wanting you to be consistent. Now that your rating is fixed to match your spoken opinion, there's no problem.
Who cares about who say on a shithole? It's obvious. Peace
This would have probably been my favorite Opeth album if it wasn't for some (what I thought were) filler moments and The Funeral Portrait (which is a pretty mediocre song on an otherwise excellent album, apart from that awesome clean-sung part, which is fucking short anyhow)
So close... Cut about 10-12 minutes and it would have been as good as perfect.
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they have no bearing on whether or not something is melodeath, especially as many of the original Gothenburg albums were totally devoid of keyboards.
