Still Life

Opeth | Format: Audio CD

Product Details

• Audio CD (February 27, 2001)
• Number of Discs: 1
• Label: Peaceville UK
• ASIN: B000050IE6
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (143 customer reviews)
• Amazon Best Sellers Rank: #97,027 in Music (See Top 100 in Music)

Track Listings

1. Moor

2. Godhead's Lament

3. Benighted

4. Moonlapse Vertigo

5. Face of Melinda

6. Serenity Painted Death

7. White Cluster

Editorial Reviews

2003 reissue of the Swedish death metal act's brilliant 1999 album, packaged in a digipak. Seven tracks. Peaceville. --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

Most Helpful Customer Reviews

49 of 51 people found the following review helpful:

5.0 out of 5 stars I shudder in awe., December 16, 2001

By 

Lord Chimp (Monkey World) - See all my reviews

This review is from: Still Life (Audio CD)

The fact that I usually hate death metal vocals but love Opeth is a testament to their brilliance, I think. I am so impressed by this band's unparalleled sophistication, their originality, and the sheer beauty of their music. Most people wouldn't call them progressive metal, reserving such a distinction for a band like Dream Theater or Symphony X. However, Opeth is progressive in every meaning of the word. They are earnestly pushing the boundaries of style with each of their releases. They are entirely unique, blending myriad styles into their complex web of incandescent, ingenious compositions. There's many so-called progressive metal artists (who shall not be named) who seem to say, "Let's throw in random changes and styles to be esoteric and weird." Opeth's approach, however, seems more discriminating, meshing everything together so naturally and seamlessly without any adverse effect to the music's evocative flow.

More than any previous Opeth record, Still Life attains a greater balance between the vocalist Mikael Akerfeldt's aggressive, bowel-wrenching growls and his chilling clean vocals. There is also a wealth of vocal harmonies during these clean sections, supplementing the melody and the vibe. The songs "Benighted" and "Face of Melinda" are delivered entirely with the clean vocals, and they are paralyzing in their beauty. The growling vocals seem more vicious, powerful, and even emotional. Akerfeldt also enunciates extremely well when growling.

Just as the variance exists in the vocals, this is one of Opeth's most musically diverse records. The reams of acoustic sections seem more informed by a folk influence than before. The heavier riffing is less brutal than on My Arms, Your Hearse, and tends to be more melodic. I think I heard a bit of a Rush (!) influence on "Moonlapse Vertigo." The average song length is about nine minutes, and involves many unpredictable changes between the heavy sections and the acoustic passages. "Benighted" is the "simplest" song on the album, relying on the acoustic guitar throughout (though the solo is on electric), but it's absolutely exquisite. The opening track, "The Moor," is 11 minutes of such striking dynamics it scares me. It begins with a lengthy introduction of haunting guitar creating a haunting atmosphere. Then, after a brief-but-stunning acoustic section, the vengeful heaviness crashes through the ambiance. "Serenity Painted Death," with its tuneful riffing, creates a groove so infectious it could hook almost anybody. "Face of Melinda" is one of the band's finest songwriting moments, being largely acoustic but building to a crippling electric finale. The sheer punctilious fullness of Still Life is almost intimidating, but it ensures long-term appeal. I was blown away on the first spin, but it takes indefinite listens to grasp its magnitude.

Like My Arms, Your Hearse, Still Life is a concept album with a somewhat nebulous story. Akerfeldt is telling the tale of an exiled man, who returns to his home after fifteen years to find the woman he loved. It's a powerful, but tragic, love story. I'm pretty sure I get the gist of it, but I must confess that the poetry is extremely complex and not always easy to understand. This challenge, however, highlights the intelligence of Akerfeldt's lyrics. Very rarely does a Swedish band offer such brilliant poetry in English. There is some brilliant imagery and diction here, especially on the harrowing opener "The Moor" and the gruesome "Serenity Painted Death." "Benighted" has pleasant -- almost romantic -- lyrics.

The word "masterpiece" is tossed around rather carelessly, it seems. It is a title that should be reserved for albums such as this. For 62 minutes and 7 songs, your world belongs to Opeth.

26 of 27 people found the following review helpful:

5.0 out of 5 stars I am completely convinced!!, January 24, 2006

By 

D. West "Viking of Chaos" (Pittsburgh, PA.) - See all my reviews
(REAL NAME)   

This review is from: Still Life (Dig) (Audio CD)

First off, I am NOT a metal expert in any sense of the word. As a matter of fact when I first heard "death" metal growls I laughed. I thought they were just so lame and corny. I bought "Damnation" by Opeth in 2003 and realized (IMO) that this music is a Godly masterpiece. Simply,cold beauty. I digress, Damnation has no growls and it was right up my alley. "Still Life" does have scorching death vox,as if Akerfeldt summoned them from the very pits of hell. Also Michael sings in a "clean" voice that is (IMO)the best voice in any genre of music. I would say 60% death vox and 40% clean, something like that. The concept attracted me, for it's about a man who is kicked out of his community by the town "council" for rebelling against the Christian theocracy held so dear in the town. In the process he loses his true love Melinda. The music and lyrics on "Still "Life are about his return and attempt to retrieve Melinda. The music could not be better in conveying this concept. As far as the growls I looked at the vocals as another instrument(for that's what the voice is)in conveying the tone and composition, that has helped me to not only like the death vox, but appreciate them as well!!! This will take a few listens to be fully revealed, be patient. Opeth is not just a "metal" band. They are all extremely gifted musicians in the truest sense of the word. You would be doing yourself a disservice for not listening to this band because of the death vox. Have an open mind and you will be rewarded. The song Benighted is quite possibly the most beautiful song I have ever heard. The way the clean vocals come in to the music is stunning. Opeth and Pain of Salvation are two metal bands that are completely unique and wonderful. They have certainly set the bar high, for all metal bands to come. All hail the mighty Opeth, Still Life is an absolute masterpiece. Peace.

19 of 19 people found the following review helpful:

5.0 out of 5 stars I'm going to play this album for my kids, April 15, 2003

By 

Wheelchair Assassin (The Great Concavity) - See all my reviews

This review is from: Still Life (Audio CD)

"Still Life" is yet another example of what makes Opeth such a unique and compelling band. No metal band composes epic songs quite like they do, and their talent and emotion is nearly unparalelled. As the reviews on this site attest, if you like melodic metal, death metal, or even prog rock, you can get into Opeth. The reason is simple: Opeth combine elements of all three genres. Raging metal shares space with mellow folk- and jazz-influenced passages, allowing Opeth to explore a broader range of musical and emotional territory than most bands would even dream of. This band isn't content to abide by the "rules" of one genre; they instead stake out their own ground by taking the best of several styles.

Mikael Akerfeldt, the band's frontman, is doubtless one of the most singular vocalists you could ever hope to hear. He can spew forth earth-shattering death vocals one minute, and then turn around and soothe your frayed nerves with some smooth singing. The music, meanwhile, is as complex and virtuosic as always. Insinuating guitar harmonies, screaming solos, thumping bass, and Martin Lopez's technical drum work add up to one of the most impressive sonic onslaughts I've had the pleasure of hearing.

All you have to do is listen to the eleven-minute opener, "The Moor," and you know you're in for a treat. The intro may be soft and acoustic, but it's deceptive, as if the band were trying to lull the listener into a false sense of security. "The Moor" turns out to be one of Opeth's heaviest songs, but it combines its gut-wrenching heaviness with stunning virtuosity and melody. While "melodic death metal" is a term that's come into vogue in recent years, much of what falls into that category is really just melodic metal with harsh vocals (In Flames and Soilwork are good examples). Opeth are one of the few bands I've heard that can infuse melody into true death metal without compromising the genre's trademark heaviness, and "The Moor" is one of the best examples of how well they do it. Fans of Morbid Angel or Suffocation (as I am) should love this song.

The next track, "Godhead's Lament," is another classic. Even more than "The Moor," it demonstrates just how effectively Opeth can combine disparate elements. This song is so complex and diverse I don't even bother trying to anticipate what's coming next; I just enjoy the ride. One minute Akerfeldt and Peter Lindgren are unleashing shredding volleys of violent guitar work, the next they're slowing things down for a pleasant acoustic passage. Akerfeldt's vocals are pure venom early in the song, but that just makes it even more sound even more heart-wrenching when he turns on that mournful singing voice. These constant shifts in vocal and musical style give songs like "Godhead's Lament" a dynamic that's rare in any genre, metal or otherwise.

The quality doesn't stop there, either. "Benighted" is a soft, largely acoustic song with all clean vocals that provides a nice break after the heaviness of "The Moor" and "Godhead's Lament." At five-plus minutes, it's a bit longer than I think it had to be, but it's still a very pretty song in its own right. The combination of acoustic and electric guitars that opens "Moonlight Vertigo" is easily one of the best intros ever, setting the stage for yet another of Opeth's diverse masterpieces.

"Face of Melinda," another choice cut, is an epic eight-minute ballad, easily one of Opeth's most moving songs. The first half consists of little more than acoustic guitars and clean vocals, but the pain and vulnerability in Akerfeldt's voice makes it work. And when the guitars turn electric about halfway through the result is, well, electrifying. "Serenity Painted Death" is another viciously heavy song that will definitely appeal to those that liked "The Moor" and "Godhead's Lament." For whatever reason, the guitar leads on this song in particular stand out to me. Good stuff, I say.

"Still Life" ends on the best possible note with the ten-minute "White Cluster," which basically encapsulates everything that's come before it. The song is yet another epic that combines sounds as it seems only Opeth can do. Intricate arrangements, addictive melodies, fearsome death vocals, soaring clean vocals: it's all here. It's up against some stiff competition, but "White Cluster" may well be the best song on here.

So, there you have it. "Still Life" is seven more tracks of the customary brilliance that we've call come to expect from Opeth. At sixty-two minutes, it manages to never sound pretentious or boring. Considering how much mindless "music" is polluting the airwaves these days, it's really sad that great bands like this one don't get more attention, but those of us who appreciate something well-written and well-played know where to look. And be sure to check out "Damnation" next week!