Metal Injection Breaks Down New Opeth Album Track-By-Track
Band Photo: Opeth (?)
A few days ago, Metal Injection was sent an untitled, unsequenced stream fresh out of the recording oven by Roadrunner Records of the new Opeth album, which is now confirmed to feature no harsh vocals.
Metal Injection writer Greg Kennelty decided to do a track-by-track review for fellow Opeth fans anticipating the album.
You can read his breakdown of three tracks below, or find the full article at MetalInjection.net here.
Track One (6:46)
If you would have told me this was a lost track written between Ghost Reveries and Damnation I wouldn't have even questioned it. The song kicks off with some organ and drum runs that settle into a little groove, another distant keyboard that sounds like a mix between strings and a theremin joins in and then everything explodes into the full band. The song sticks with the Ghost Reveries groove-vibe for a little and then calms down into Damnation pianos and mellotrons with the classic clean-toned droning guitar over top. Vocals come in around three-minutes and they're really layered over top what feels like a beefier version of the first section. Think Heritage with teeth. There's a killer guitar solo and then right before it's all over, there's a really interesting instrumental section that's a little shreddier than anything Opeth have done up to now. Not shreddy as in wanky, but this big full-band unison thing going on that's just really cool. Then a string section and organ fade the song out.
Track Two (5:36)
The track opens with an oscillating noise that sounds like an effected guitar and underneath comes this big, full band groove. I mean one seriously fat motherfucker of a riff. "Track Two" is a lot less progressively influenced than "Track One." There's a few verses, a chorus, a guitar solo and a few little four-or-eight-bar runs between the sections. Where the song lacks in progressive grandiosity, it makes up for by being a straight up headbanger. You know how when "Bohemian Rhapsody" by Queen comes on and there's that one part everyone head bangs to? This whole song is like that. One of the best moments is the guitar solo, not only because it just rips like mad, but because there's this punctuated, stop-and-go riff underneath that absolutely demands a foot tap at the very least. I would not suggest listening to this song in public because you're going to be forced to react to it in some capacity.
Track Three (10:53)
"Track Three" is one of those songs where you don't even realize eleven minutes has passed because you're enjoying the music so much. It's a really, really intense sounding song. I'm not precisely sure what makes it so sinister but there's a lot going on instrumentally that melds, yet clashes, in a really interesting way. The song evokes feelings of dread, like something bad that's about to happen any second now… it's coming for you. In my notes I wrote "4:40 is downright evil," and upon a second listen I was dead on with that. There's some back-masked vocals, sounds of something distant clattering and foggy keyboards. Whatever the dread being evoked before was for, it's there in that moment. Then out of the blue the song cuts to a vocals-only section followed closely by xylophones and acoustic guitars. Or at least for that section that goes until about 6:50 where the first section's mood gets revisited and slowly evolves into a mournful major key. Vocals play a huge part in this song with their layering and general prominence, but that seems to be the story of this album so far.
This currently untitled album follows the divisive "Heritage" album (reviewed here), which saw Opeth fans split down the middle - so much so that we even wrote our own pro-"Heritage" and anti-"Heritage" articles.
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