Opeth - Pale Communion

Although Opeth have been in existence since 1990, I confess that to the best of my knowledge I have heard nothing by them. Perhaps the fact that Wikipedia describes them as a a Swedish heavy metal band has something to do with that. I may have wide ranging tastes in music but aside from the first couple of Black Sabbath albums, I have managed to steer clear of heavy metal.

Nevertheless someone suggested I may enjoy the most recent Opeth album, 'Pale Communion' and when comparisons were made with Steven Wilson and Porcupine Tree I felt compelled to give it a listen. I'm pleased that I did!


It just goes to show that one should not pay too much attention to the labels that critics and others are inclined to attach to artists these days. Far from being a heavy metal band, I detect in this album shades of prog-rock, folk, jazz, blues and what I suppose could be called, new age. But there I go with the labels again. 

I understand that front man Mikael Akerfeldt has toned down his usual death metal vocals for this album and they have been replaced by a mellower sound that would not be out of place on a folk-rock album particularly on parts of, 'Moon Above, Sun Below'. This one track features some blistering rock, sublime electric guitar, almost CSNY vocal harmonies and some even more sublime nylon strung guitar. It may be almost 11 minutes long but I never get bored listening to it.

Following the rather less successful instrumental, 'Goblin' the seven minute 'River' begins with a catchy melody featuring acoustic guitars and beautiful harmonies before the whole thing takes off in a wild race between electric organ and guitar. 

Even better is 'Voice of Treason' with its hypnotic riff, synthesised strings and driving drum patterns. Then to end the album come the lush, stately strings that take us into 'Faith in Others'. In it's beauty it reminds me of the closing title track to Steven Wilson's 'The Raven That Refused To Sing'. It is gorgeous and about as far removed from death-metal as one can get.

The new direction taken by Opeth over the past couple of albums may be causing some consternation among some of their long-standing fans as they yearn for the harsher death-metal sounds, but for one I am grateful for this change in focus. There's nothing wrong with a bit of very well done prog-rock. And after all, it's only a label you know.

Steven Wilson - 'The Raven That Refused To Sing (and Other Stories)'

 

 

Despite the fact that Steven Wilson has produced an impressive body of work (Porcupine Tree, No-Man, I.E.M., Bass Communion plus a couple of previous solo albums), I confess that until an advance copy of this album arrived in the White Room, I had never heard anything by him.  Those of you familiar with his work are probably shaking your heads in disbelief and muttering "shame on you". I am sure that you have been awaiting this album with eager anticipation. Now that I have listened to it a few times myself, I can understand why.

 

Those of you that have no time or inclination for 'Prog-Rock' may as well stop reading now and browse elsewhere, for this is most definitely progressive rock music. The influences that I can clearly detect, are King Crimson, Weather Report, Pink Floyd, The Enid, Mahavishnu Orchestra and a bit of Frank Zappa thrown in for good measure. Listening to it is almost like being transported back to my own record collection in 1973.

 

The album is made up of six fairly lengthy tracks (three are over 10 minutes long), in which Wilson weaves his multicoloured threads through pieces of music (it would be inaccurate to call them songs) that despite the influences, are clearly his own.

Most tracks go through a variety of changes in rhythm and texture. For example opening track 'Luminol' begins at a frantic pace with some powerhouse drumming (think Billy Cobham) and thudding bass. Then Theo Travis comes in with some jazzy flute before everything stops suddenly and a cappella voices sing in tight harmony. The pace continues behind a synthesiser melody but after about four and a half minutes everything slows down and over the top of lush guitar chords, Wilson sings a melody which is answered by beautiful harmonies that put me in mind of those on 'October 26' by The Pretty Things. Piano than takes over as the lead instrument before some Yes - like harmony vocals lead us into a slightly heavier section featuring some distinctly King Crimson sounding mellotron. Eventually it all comes together as we are taken back to the opening theme.

And that's only track one.

The following 'Drive Home' is all taken at a much more sedate pace and puts me in mind of 'Dark Side of the Moon', an album which Wilson became familiar with during his formative years. This is followed in turn by 'The Holy Drinker' the opening of which sounds to my ears a little like Mahavishnu Orchestra circa 'Birds of Fire'. But, yes you guessed it, that doesn't last long.

Perhaps at this point I should mention the superb musicians who grace this album. They are:-
Guthrie Govan - guitar
Nick Beggs - bass
Adam Holzman - keyboards
Theo Travis - saxophone & flute
Marco Minnemann - drums

The album is superbly produced and was engineered by renowned recording engineer Alan Parsons who honed his craft on such classics as 'Abbey Road' and 'Dark Side of The Moon' and who of course fronted his own prog-rock outfit, The Alan Parsons Project. The result is an amazing sounding album where every instrument and every note can be clearly heard. It's a sonic masterpiece in whatever format you choose to listen to it. I have focused somewhat on the music of the album but I should also point out that lyrically the tracks are  pretty interesting, each one being a short story with a supernatural theme. For example, 'The Pin Drop' tells the tale of a woman floating down a river reflecting on the fact that she was murdered by her husband. Think of the works of Edgar Allan Poe and you won't be far off the mark. And of course it is all perfectly complemented by the music.

The title track which closes the album goes through fewer changes that its predecessors. Based on a simple melody over four piano chords, the effect is mesmerising and gradually the music builds into what we used to refer to as 'symphonic rock' back in the day. I am reminded somewhat of The Enid and their early 70's albums 'In The Region of The Summer Stars' and 'Aerie Faerie Nonsense'.

As it ends, I reach immediately for the remote control to start it all over again. Simply wonderful and yet another contender for album of the year. Is it really only February?

Postscript
I know I have arrived rather late to this particular party but I do feel that the back catalogue of Mr Wilson merits some further exploration. The trouble is, there is so much of it and there are only so many hours in the day. Some advice as to the 'essential' recordings from Steven Wilson or any of his other projects, would be much appreciated.