Ghost Reveries, Opeth

One of the most brilliantly performed Opeth albums, this clearly sets a threshold for any "copy-cats bands" to be able to reach, a feat yet to be surpassed. Although all of the songs are not as impressive as some of those from the previous albums, the album as a whole is simply stunning. Here's more inspiring words on the album by someone more suited to do the job.

Let me start by stating the obvious: Opeth isn't exactly the most accessible metal band around. Too boring for those who only need METAL!!!1 and too extreme for the fans of lighter genres, it takes either a fair amount of patience, or an unusual enough taste to appreciate. Ghost Reveries doesn't change this at all, with five large, complex compositions and three shorter, calmer songs working, as great as they are, as interludes more than anything else. Still, there's plenty of those, including the one writing this, who really enjoy thorough digging into the creations of Mr Akerfeldt and co., and the reason is simple enough – it's extremely rewarding in every way. The journey we're taking on Ghost Reveries isn't exactly an optimistic nor a simple one – we're dealing with ghosts (in the more spiritual meaning rather than the fantasy one), solitude, guilt, and even occultism at more than one point. It takes time and patience to fully get into the world presented here, but the way it is presented makes it worth the effort entirely. As (nearly, there's Damnation after all) always in case of Opeth, the music is a combination of straightforward death metal with a progressive edge, more melodic and melancholic sections, and the calmest, mostly acoustic parts. On Ghost Reveries, all three are executed and combined with perfection and finesse, as the music can pass from crushing riffs and deep growling to acoustic guitars and clean vocals within 30 seconds, and it feels entirely natural. However, this time the focus is definitely on darker parts, even though there are four songs feeling – more or less – lighter than the others. The longest one of them, and actually also the longest composition of the album, called Reverie/Harlequin Forest, is an impressive work with a more melodic approach, some beautiful guitar leads and solos, and also an amazing combination of clean vocals and heavier riffs in the first part. It's still not void of heavier parts with growls, which are very nicely combined with the rest, but this time it's not the main part. This song also perfectly displays another strength of the album – the incredible use of keyboards and mellotrons. This is the first Opeth album recorded with Per Wiberg, and also the first “normal” album using the keyboards so extensively - they're present pretty much from start to finish of Ghost Reveries, they hardly ever take the lead, and greatly add to the whole sound. They're used to great effect in the heavier sections, just as the first half of The Baying of The Hounds and intro/outro of The Grand Conjuration, but obviously, it's the lighter parts in which they have more space and importance. The three shorter songs, called Atonement, Hours of Wealth and Isolation Years, are particularly dominated by the use of keyboards. Atonement has a slightly jazzy feeling to it, but it's the vocals that shine the most – it's one of the most emotional moments of the entire album, with a beautiful, slightly processed voice that really remains in your mind... Hours of Wealth may be the weakest track of Ghost Reveries, but it still works as a very good acoustic interlude. However, the closing track – Isolation Years – is a different thing entirely. The most melancholic and the shortest track on the album, but full of emotion and feeling, it's extremely memorable since the first listen, and the perfect ending of the album, it's also probably the most impressive clean vocal performance of Mikael Akerfeldt on Ghost Reveries. The most impressive growling performance, on the other hand, would be the first half of The Baying of The Hounds. Actually I'll go as far as saying this is one of the best growling performances I've ever heard, with a really deep, dark, powerful voice, that really will make you feel the lyrics (and we're talking about lyrics such as “the cities lay dead and beyond despair”). The truth is that vocals on the whole album are absolutely top notch, emotional, powerful and simply excellent in every way, and these examples are just the ones that stand out the most, but there are many, many more (such as the beautiful “Drown in the deep mire...” part – The Baying of The Hounds, again). I admit I had considered Mikael Akerfeldt a good, but not great vocalist – I was proved entirely wrong by this album, which is vocal-wise one of the best things I've ever heard. The metal side of the album is nearly perfect as well, and the aforementioned The Baying of the Hounds is one of the heaviest tracks, dominated by excellent death metal riffs, with a particularly great, heavy, chugging one around the 7th minute. Another one is the opener, Ghost of Perdition (which seems to have gained a nearly untouchable spot in the band's live setlist), also alternating a bit between heavier and softer moments, both being equally brilliant. Beneath The Mire is the most unusual and probably also the most prog-metal oriented track on the album, with a slightly more technical approach and some unconventional experiments (such as the opening riff), and also an amazing outro. And then, there's the song which has really possessed me. But hell, I'm happy with that. It's called The Grand Conjuration, and it's hands down the heaviest and darkest piece on Ghost Reveries. It's the most focused on the theme of occultism and ritual, which is rather obvious, looking at the title, and the atmosphere is so dark and dense that it's capable of giving chills during most of its duration. On one hand, there's the particularly grim growling style, sounding like you really don't want to mess with him, and on the other – there are the quiet moments, with a repeating low guitar sound, and a clean, silent, nearly whispered vocal style... but the way it sounds is so incredibly discomforting (especially with the “ritual” whispers in the background here and there) that it manages to sound even darker than the heavy parts, which, by the way, are just filled with amazing riffs, from start to finish. And the outro... I've mentioned it when talking about keyboards, I'm mentioning it again, and it's still not enough. I'm listening to this song for around the twentieth time and it feels just as incredible, monumental and powerful as for the first time. I'm not the “if it's the heaviest, it's my favourite” type, especially on albums like this, but this is an exception... One more thing that shines on the album, in fact on The Grand Conjuration the most, is the drumming. This is the last Opeth album with Martin Lopez, and his performance here is excellent, with lots of finesse and feeling, but also a lot of punch in the heavier parts. This was one of those rare albums which I had decided to try not really knowing what to expect, and ended up forgetting about the rest of the world for two weeks. If someone can't stand long songs and the “boring” acoustic sections, I don't think Ghost Reveries can change his/her opinion. Otherwise – this is an album with amazing songwriting (and with this song length and the diversity of musical styles involved, this means a lot), absolutely stunning and incredible vocals, excellent riffs and drumming, beautiful softer parts, and everything combined together by a unique, dark atmosphere. Impossible to do all at once? Maybe. But this is Opeth.

Originally from: the records of Encyclopaedia Metallum, done by Darkes_7

Hindsight, Anathema magic

Hindsight is one of the best albums of all times. Each of its songs are so superbly done that I find myself at a loss of words to describe it. The songs are very touching and I would be making a mockery of myself if I tried explaining any of it. Here's a review on the album:

It’s been five long years since Anathema graced us with an album. Five long years since the magnificent A Natural Disaster that sealed the deal for the bands movement away from all things metal. After that though, there’s just been the steady increase in anticipation levels among fans of the band for the new album. While it has been made public that the album will be called Horizons and Porcupine Tree’s Steven Wilson will be producing, a release date and a label to release the music is still not known.

So in the meantime almost like a piece of meat thrown at their rabid fan base comes Hindsight. A collection of songs previously released on various albums but now re-worked into a largely acoustic framework. The album opens with Fragile Dreams and the song has been transformed into a keyboard led gently melancholic refrain. It’s a stunning re-working of one the bands more popular songs and when the cello comes in instead of that opening guitar line you just know that this compilation is going to be a bit special. Leave No Trace from 2001s A Fine Day to Exit has a folk feel to it while the original version’s spacey feel is completely missing on this one. Inner Silence sounds even more morose and brooding than the original and seems to be the result of Danny Cavanagh’s time spent in Antimatter.

The centerpiece of the album though is the magnificent re-working of A Natural Disaster. The title song taken from the bands most recent album is essentially the same. It’s the subtle changes like the cello coming in for the original bass guitar and an absolutely stunning vocal performance from Lee Douglas really taking this song to a whole new level. Flying also from A Natural Disaster is another terrific song and while the original was a definite highpoint of that album, this re-working is absolutely essential stuff.

The album ends with Unchained (Tales of the Unexpected) which is another melancholic and brooding song that’s held together by a gentle acoustic guitar and some vaguely ominous sounding cello and keyboards parts. Terrific ending to the album and is good reason to check out Hindsight on its own. I suppose the only real downside to this collection is the exclusion of Forgotten Hopes and also the fact that this only focuses on material from Eternity onwards.

I think most fans of the band are going to love Hindsight. The songs are all essentially the same but have been tweaked just enough to give things a fresh perspective. I can’t wait for the new album to come out but till then, Hindsight will do very well.

Originally written for http://www.kvltsite.com

AYURVEDA

One of the most phenomenal bands in the genre at the moment, Ayurveda continues to remain unheard of, yet simply beautiful to hear. Here's the bands bio, quoted from their own website:

Let’s define the word first, before we define the band. Ayurveda is a Sanskrit word meaning “the knowledge (or wisdom, or science) of life.” It is an ancient system of philosophy and naturopathic health care rooted in the Hindu Vedas, applying in very individualized ways to the physical, mental, social and spiritual welfare of all who practice it.

Ayurveda, the band, is a five-member group based in Ithaca, New York. Their sound, as it exists on their debut album Being, is heavy rock music — the album was produced by Alex Perialas, known for his work with Anthrax, Testament and Bad Religion — with all the thunderous guitar riffs and freight-train rhythms one might expect given the 13-track set’s pedigree. But Ayurveda’s music has a delicacy, and an intelligent tonality; and singer Tom Burchinal’s lyrics, while not afraid of the darkness, explore a more positive, spiritual reality consistent with their namesake.

The story goes like this: Diwas and Shikhar met at a dinner Shikhar’s mother hosted for Nepalese exchange students at Ithaca College. Shikhar learned that Diwas was a fellow guitarist, and asked if he’d ever played a Les Paul. “No,” Diwas replied, and Shikhar brandished his axe — and was floored by Diwas’s playing. Diwas was asked to join the nascent Ayurveda, which already included Shikhar and Tom.

One night, after they finished rehearsal in the Bajracharyas’ basement, Dr. Bajracharya asked Tom why his lyrics were so angry, and she introduced him to the meaning of his band’s name. It was a revelation, and the genesis of Ayurveda’s collective sense of purpose.

The trio soon found likeminded allies in drummer Mike Parker, a session player at the studio where Ayurveda recorded their first EP; and bass player Dan Halperin, an early fan who was enlisted after their then-bassist left town for an internship shortly before the EP release party. From there, it was as if everything clicked; five became one, and Ayurveda as you hear it today was complete.

Great music: check. Dedicated, diverse cult following: check. Next step: conquer the world. Ayurveda is coming to you, the science of life delivered via Les Paul. And if you let it in, if you believe, then it just might transform you.

Source: Ayurveda official webpage