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Deliverance Original recording

171 customer reviews

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Audio CD, Original recording, March 19, 2007
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Editorial Reviews

OPETH Deliverance CD

Track Listings

Disc: 1

  1. Wreath
  2. Delierance
  3. Fair Judgement
  4. For Absent Friends
  5. Master's Apprentices
  6. By The Pain I See In Others

Product Details

  • Audio CD (March 19, 2007)
  • Number of Discs: 1
  • Format: Original recording
  • Label: The End Records
  • Run Time: 62 minutes
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (171 customer reviews)
  • Amazon Best Sellers Rank: #54,384 in Music (See Top 100 in Music)

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Customer Reviews

Most Helpful Customer Reviews

69 of 72 people found the following review helpful By Lord Chimp on November 19, 2002
Format: Audio CD
Another Opeth album, and again the pillars of progressive metal must inevitably quake in terrified awe. Luckily, most will remain safe since Opeth basically remains a niche within a niche. For the esurient progressive music fan not queasy with a hellish vocal, however, it is obvious that they are one of progressive metal's leading bands.
Opeth's latest album continues to their brutal heavy passages with gorgeous acoustic interludes and a protean expanse of other flavors ranging from Scandinavian folk to jazz to 70s prog. Even though this is their sixth album, Mikael Åkerfeldt's bohemian preoccupation with creating progressive music remains as poignant as ever. While _Deliverance_ does call upon familiar elements from past albums, it likewise adds new assets to the Opethian palette -- especially the final song, "By the Pain I See in Others". After all, Opeth is nothing if not surprising.
Right now, I'm not sure how I would rate this relative to other Opeth works. Certain things are clear, however. For one thing, it the most complex musically. This makes it difficult to take in quickly, but Opeth was never musical fast-food anyway. With only six songs, all ten minutes or longer (not including a short instrumental), it is quite overwhelming to take in at first. The astonishing drumming, heaviness, and seemingly impenetrable song structures necessitate a lot of listening. Lyrically, Åkerfeldt has mined a very personal side which makes this the most emotional of Opeth's albums. The lyrics are gorgeous, haunting, darkly evocative. Ex. "Pacing further down | Familiar children's laughter | Dissonant and out of time | And their eyes are dead | Watching myself in a pool of water | Wearing the mask of a ghost | Smeared all across my skin | Rotten earth and insects." Creepy!
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20 of 20 people found the following review helpful By Wheelchair Assassin on November 22, 2002
Format: Audio CD
Opeth have become sort of an underground metal legend in the past few years, and deservedly so. Although their sound clearly has roots in death metal, at the same time they're willing to go outside the genre and do something completely different. "Deliverance," like every Opeth album, has the guttural vocals and heavy guitars that are the hallmark of death metal, but there's a lot more going on here. Opeth use acoustic guitars and clean vocals extensively, and it works wonders. I can't think of any band I've heard that creates such emotionally and musically diverse albums, and Opeth have done it six times now. I'm not one of those fans that have gone ga-ga over everything Opeth has done, but any way you slice it this album is amazing.
Although Opeth are obviously highly skilled musicians, this isn't the most complex or technical metal I've heard. I think Opeth's real appeal lies in their music's evocative power and in the element of melody that they bring to their sound. Opeth have a way of playing that manages to convey a lot of emotion, whether you can make out the lyrics or not. Sometimes the band rages, at other times they sound mournful and contemplative, but it's always obvious that they put a lot of feeling into what they do. And since Opeth are Swedish, they have tons of those catchy, melodic guitars that give that country's metal its distinctive flavor.
The eleven-minute opener "Wreath" is a fine example of just what makes Opeth such a great and unique band. Mikael Akerfeldt delivers his vocals in a rumbling, menacing death growl almost reminiscent of Cannibal Corpse's Chris Barnes, but with far more of a melodic sensibility. And like most of Opeth's songs, it has an epic feel that few extreme metal bands can conjure up.
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15 of 15 people found the following review helpful By A. Stutheit on September 21, 2005
Format: Audio CD
"Deliverance" is yet another example of Opeth's brilliance. This album came out in 2002, only a year after the release of "Blackwater Park" (because they had good success with that album), and it might be this Swedish band's heaviest album. All of their albums are heavy, so calling this one their heaviest is really saying something. These songs are fairly consistently heavy and show quite a bit of death metal influence.

Part of why "Deliverance," Opeth's sixth full length, is so smart is they figured out a way to make it clock in at 62 minutes flat. But this album's songwriting is also great. The key to their success is recognizing the value of contrast (balancing and blending things which are very different). "Deliverance" is just so many things all at once. It is pretty and ugly, progressive and heavy, fast and slow, bold and subtle, punishing and satisfying. Some other metal bands (not mentioning any names, here) are afraid of adding melody, because they think it risks being called a sell-out, while others add melody just to break up their C.D.'s monotony. Opeth, however, do it just because they're so darn good at it! In addition to this album being full of soft breakdowns, singer Mikael Akerfeldt displays a very impressive vocal range by seamlessly switching from bellowing (like Deicide's Glenn Benton and Immortal's Olve Eikemo) to imitating a voice (which could be Justin Timberlake). The end result is an album full of great friction (between the beauty and brutality).

"Wreath" begins with a fast drum intro before rocketing into a guitar assault, with some death metal roars. The drumming (by Martin Lopez) is very fast and talented throughout this song, and some melody is included, but it's thrown in late in the song (when the soft hand percussion makes an appearance).
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