Storm Corrosion (Special Edition CD+Blu-Ray) (Limited Edition)
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Storm Corrosion is the long-discussed and highly anticipated collaboration between two of the modern progressive rock scene's most innovative and multi-talented artists: Mikael Åkerfeldt of Opeth and Porcupine Tree s Steven Wilson. The special edition is limited to only 5K copies in the U.S. and contains the standard CD and Blu-ray with 5.1 mix of the entire record, 2 exclusive demo tracks, & 5 instrumental tracks
"It s very hard to describe this music as it is so different from most things around right now (at least as far as I know)," said Wilson. "I said it was the "opposite of metal" because I think a lot of people might have assumed from the two people involved that this would be some kind of progressive / metal thing, but in fact it s quite a minimal album with a lot of space and beauty, orchestral and organic, hardly any drums and no distorted guitars "twisted beautiful" is the best way I can describe it."
"Some of the music on this record I think is the most beautiful music I have participated on ever," adds Åkerfeldt. "There's some magical sections on there. Musically I think we've created something earthy, a bit frightening, exhausting, profound and rather intense. All at the same time. I can safely say I don't know any other band or artist that sounds anything like Storm Corrosion. I guess that was also one of our goals, so to speak."
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Top Customer Reviews
I hope they return in the future with another collaboration.
However, you can definitely hear both of the legendary artists' influences in every song, rather equally over the whole of the album.
The music is ambient at times and the guitar is acoustic. There's really no sense in trying to describe the album, in depth, as it really has to be listened to. Storm Corrosion, is subtly amazing.
You are going to have to listen to each song several times to fully appreciate this work of art, (like all good music).
If you're a fan of either artist, this is a must have. If only because you will be listening to something very original, both alike but also very unlike other projects these artists have done.
Lesson 1: This is NOT Opeth, and this is NOT Porcupine Tree.
It's an album mostly devoid of percussion and metal guitars. It is more on the easy and lightweight side, but with a dark secret. The melodies in themselves are simple, the instruments and vocals soft and airy (Drag Ropes a bit of an exception). But of course nothing is ever as simple as that with these mucisians. There are unexpected sounds and twists betwixt these beautiful melodies. Parts that make you go: what the ...?
The first track, Drag Ropes (9.50), had an official release on youtube, so my suggestion is that you go there and try it out. It's an eerie and beautiful, orchestral and epic piece with a great animated video. Now when I listen to the song, I always see those images in my head.
The best way I can describe the second track, Storm Corrosion (10.10), is to suggest you think of Simon & Garfunkel. This is true for the first 5-6 minutes at least. What happens then is a rising... sound... that is creepy and powerful, but that I can't really call "music" in its strictest sense. It's a difficult transition for the listener to make, but as the album progresses you understand more about the idea behind this contrast. The song finishes with a return to the original melody.
The third track, Hag (6.30), is perhaps my favourite. It rises slowly from a dark silence with soft guitar tones and piano key-strikes, accompanied by Wilson's one-word song lines. It picks up a high-pitched electric organ sound and some more guitar melodies. 4,5 minutes in there's a 45 second long guitar and drum combo that feels straight out of Opeth's Heritage album, and that is the most metal you'll hear on this record. Then the track goes back to finishing off in the same style as it opened.
Track four, Happy (4.50), again makes me think a lot of Simon & Garfunkel. But the eerie contrasts are back. And the track structure is a bit backwards. It starts with what feels like the ending, and then in the middle comes what feels like a natural start to a song. Otherwise, a soft acoustic guitar is plucking along at its strings, sometimes accompanied by an electric guitar. Interwoven with this melody are what I can best describe as distorted electric machine sounds from an evil dimension!
Lock Howl, track number five (6.10), is a relatively fast-paced instrumental diddle. I guess it makes sense to make change the beat before the closing track, which is perhaps the softest on the record. I guess this piece feels somewhat that it could belong on Heritage as well, but not entirely. The acoustic guitar melody runs along with an electric guitar tempo in the background. About halfway in, the song pauses and picks up a new beat with clapping sounds and a queer psychadelic organ sound, then almost gets quiet with some soft wind instrument. Then it starts up from the beginning again with some additional sounds.
Ljudet Innan (10.20), a Swedish title that translates to "The Sound Before", closes the album. It starts with Mikael singing softly and low, a lament from the deep. After, an electric organ rises very slowly and gets an echoing guitar string occassionally joining in. Halfway in, an electric lead guitar adds a light melody and Wilson comes in with some of his soft vocals. Not much more happens.
The album journey from start to finish is soft and strange at the same time. Here are some of the more beautiful melodies you will have heard, arranged with some of the more difficult sounds to listen to. But these contrasts are not so much "in your face", and they don't happen often, to my delight. I wouldn't want too much weirdness messing up the beauty that is in here.
At first listen it will be hard to understand, but this album grows steadily stronger with every listen. Of course, it's nothing you would turn on when it's time to party, or if you want to feel the energy pulsing in your veins. But perhaps towards the end of the night when everyone's quieting down on the couch in the dark, or when you're alone on a grey day...
It's a great album, but of course there's room for improvement.
The closest thing I could compare this to would be a cross between Steven Wilson's previous project "No-Man," particularly some of the harmonic, softer material from their Flower Mouth album, and the organic, free-form structure of a Fantomas album. Throw in some of Robert Fripp's solo "soundscape" experimentation and you have a starting place from which you could approach this, if anything.
Making these sorts of comparisons isn't intended to mystify the album too much as an avant garde sort of work; Storm Corrosion is very easy to listen to. The unique characteristic in light of these similarities is that the music isn't terribly abstract, and is quite straightforward to the ear. It is a quiet, mostly instrumental, more subdued sound, and at times might ring somewhat hollow in material and form. It focuses on spacing and ambiance more than percussion and rhythm. I rather like that honestly; it's airy and minimalistic sound is compelling in it's own way.
I absolutely recommend a listen! Stand out track for me is #2, the title track.
This is actually very good work, just make sure you can approach it without the expectations that might be associated with the collaborator's respective back-catalogs.
Melancholy, wistful music for early mornings or rainy days - this album must have flown off the shelves in the Pacific Northwest.
I can't choose a favorite song. I find them all to be equally intriguing. If you are interested in listening to some atmospheric music with a grim edge to it, then this is your album. Pick up a copy and give it a few spins; you won't be disappointed.