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41 of 47 people found the following review helpful:
5.0 out of 5 stars
"My sweet Satan, I see you...", June 3, 2008
Watershed is the ninth Opeth album; and in some ways it signifies a new start for them. This is not totally surprising, given the band has a new guitarist and a new drummer now. Also, they they seem to be in a transition phase musically because Watershed, while encompassing lots of their past hallmarks, also delves into new musical territory.
The differences are mainly demonstrated in their impenetrable song structures, as Mikael Akerfeldt has constructed the album in a more evocative way this time time around. Unlike any other Opeth album, Watershed begins with the short acoustic track "Coil", where strummed acoustic guitars and beautifully arranged string work form the leeway for Akerfeldt and female guest singer Nathalie Lorichs to deliver the verses in an addictively melodic tone. Lorichs' vocals are amazing, and while the song clocks in at only three minutes, that's its charm.
Overall, Watershed is no where near as heavy as the previous Opeth discs, as it boasts a more experimental aesthetic throughout. However, the second track "Heir Apparent" is arguably the heaviest, most brutal Opeth song to date. Not only is it crushingly heavy, it is also the first Opeth tune with no clean vocals whatsoever. Sure, they have other tracks like "Blackwater Park", "Wreath", "The Amen Corner", and "April Ethereal" among others, but all of them contain some clean backing vocals, whispers, humming, et cetera whilst "Heir Apparent" is delivered with Akerfeldt's unmistakable growls from start to finish. Occupied by an assault of guitar fury in its chaotic intro, the piece contains laser-precise drumming and Akerfeldt's suffocating vocals that are contrasted by deft string work and clean, psychedelic-like guitar harmonies soaring over Axenrot's percussion. The ending to the song is equally baffling: smooth layers of guitar melodies overlapping each other.
New drummer Martin Axenrot will pleasantly surprise many an Opeth fan with his performance here. Not only does he play with admirable restraint on most of the album, but he also proves how capable a drummer is on "The Lotus Eater", which is another sound experiment for the band. The drumming on this dissonant tune is stupifyingly good, perhaps among Opeth's finest. Certainly the most technical song on the disc, it features blast beats over which Akerfeldt sings with clean vocals and then growls atop rapid-fire guitar riffery. Very interesting. The rhythm exercise of the song brims with energy, particularly during the instrumental break where guitars, drums and bass clash with each other without taking away from the composition.
Akerfeldt's love for the 70's is exemplified by the gorgeous ballad "Burden", whose main melody is very similar to the stuff Dan Swano does on Unicorn's Emotional Wasteland album. A bit like the material on Damnation, this one sees Opeth branching off into pure balladry mode, with moving guitar solos and vocals. The ending is especially confusing, as Akerfeldt's guitar is manually detuned in the finale. They obviously did it to escape the mellow ballad mood of the tune, and it definitely sets it apart. Despite that weird ending, Opeth proves they can write the best songs in any genre.
This album contains some of Akerfeldt's most enigmatic and personal lyrics, hence the reason why they have been excluded from the booklet. "Hessian Peel", the only ten-plus-minute song on the album, is a total embodiment of Opeth's current musical and lyrical vision. From the sombre acoustic intro to the mournful clean vocals, it evokes a funereal atmosphere where Martin Mendez' bass stands out in the mix. Too bad the bass in Opeth has been almost inaudible since the band's Dan Swano-produced albums, but this track has a healthy dose of his bass throbbing beneath Axenrot's calculated drum battery and the guitar duo's smashing rhythm parts. The song also contains some backward lyrics, most notable between 2:03-2:22. Obviously a reference to Led Zeppelin's "Stairway to Heaven", the lyrics read: "Out of the courtyard | Come back tonight | My sweet Satan| I see you". It's a dark tune with ghostly bursts of atmosphere, and Per Wiberg's Mellotron sounds as well as the string arrangement further enhance the tune's power.
Great shifting of dynamics permeats "Porcelain Heart", the only track Akerfeldt co-wrote with Fredrik Akesson. This is perhaps the only song where polar opposites are merged in a single composition: hammering guitar riffs are side by side with oboes (speaking of which, there is plenty of flutes, oboes, cellos on this album -- all live, not keyboard generated) and Akerfeldt's shift from hellish growls to lullaby-like singing in the middle part attests to his diversity. This is perhaps his most haunting moment -- very emotive and heartfelt.
The album ends on a creepy note with "Hex Omega", a curious mix of waves of guitar dissonance, strings floating across the whole track, and a forlorn piano motif. The droney ending of the song lends it a very creepy feel as well.
Watershed to me is a transition from Ghost Reveries much the same way Still Life was from My Arms, Your Hearse. It was only with Blackwater Park when they fully achieved the sound they were aiming for, so I feel their next album may present a larger picture as to where they want to go musically. At any rate, this album is another worthy addition to Opeth's back catalog.
BONUS DISC:
Besides the DVD and 5.1 audio mix as well as a cool "puzzle" (study the picture of the guy closely!), the Special Edition version also has a bonus disc with three tracks: the Middle Eastern-flavoured "Derelict Herds" with cool clean and heavy passages typical of Opeth; the amazing Robin Trower cover "Bridge of Sighs", a fairly loyal rendition of the original but Akerfeldt's vocals and especially the run-out blues solo are soul-crushingly beautiful; and the Swedish-sung "Den Standiga Resan", a largely acoustic tune dripping with sadness (it only features a heartfelt electric solo at the very end). Actually they were also supposed to include "Would?" by Alice In Chains, which would have been amazing, but sadly that tune has been left out.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Remarkably Consistent - Opeth Triumps Again, June 26, 2008
Leave it to Opeth to surprise us with every new album. Riding on the momentum built by their last two albums and recent successful tours, the Swedish quintet released in May their ninth studio album, "Watershed". Known for their wall-of-sound compositions and overall crushing tone, the album starts off with "Coil", a 3-minute acoustic song featuring diverse instrumentation, Mikael kerfeldt's softer side, and a cameo by female vocalist Nathalie Lorichs. It's quite a bold move for a progressive death-metal band, but it pays off as it leads into the merciless "Heir Apparent", arguably an upcoming single.
From there we are treated to a diverse tapestry of sound, most of which we can call "vintage" Opeth, with several surprises thrown in the mix. The band had received some criticism on their previous studio album, 2005's "Ghost Reveries", namely that their trademark loud-to-soft transitions were becoming too forced. Whether or not they chose to acknowledge this criticism is moot, but the transitions in this album are much more fluid and graceful. Songs like "Hessian Peel" grow slowly from folk-inspired acoustic passages to the chthonic assault that makes Opeth such a powerful force. Along the way the band makes use of flutes, ("Porcelain Heart"), and strings to great dramatic effect ("Burden").
Though their 70's-prog influences are still shining in this album, the Swedes are far from going soft. "Heir Apparent" and "The Lotus Eaters" contain some of the roughest, fastest riffage heard since "My Arms, Your Hearse". This is no surprise - kerfeldt has been saying for a long time that it was a worthy successor to the album, released a decade ago. In between, it is clear how tightly the band has honed their craft. Even with a lineup change, replacing longtime guitarist Peter Lindgren with Frederik Akkeson and drummer Martin Lopez with the apty-named Martin Axenrot, there is a definite sense of consistency in the band's catalog. The dynamic, and often frantic, balance between intense and soothing, is still there, but not as deliberate and self-aware as it was in "Ghost Reveries".
With "Watershed", Opeth have created an eponymous album that vastly exceeded my expectations. Much like prog-metal peers Symphony X and their release of 2007's "Paradise Lost", they have perfected their style and created a remarkable work of power, consistency, and beauty. Though not perfect, as exemplified by the album's lackluster closer ("Hex Omega"), it is a solid musical statement, driven by kerfeldt's intricate and disciplined songwriting. Whether you're a fan of the dark side of distorted metal or the serene landscape created by lush acoustics, Opeth will deliver.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Opeth keep releasing better records!, June 21, 2008
You can tell we're I'm going with this by the title. Opeth are becoming more like their friends Porcupine Tree and Dream Theater, and if you haven't liked the direction the band has been crawling towards since Blackwater Park you aren't gonna like this. I take it that most of you, however, do.
The album feels like a concept album. It's not about the songs, but how the songs all carry similar themes and lend themselves to the bigger picture. The album is long, but goes by very quickly because there's no boring parts or typical Opeth redudancy. If I had to make a quick comparison, imagine if Damnation were mixed with Ghosts of Perdition.
Opeth are growing from their deathprog roots, and into being one of Progressive Metal's flagship bands. They are, at this point, just as important to the movement as the prior-to mentioned. For me, and I think many others, this is a good thing.
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