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Opeth Streaming New Song "Cusp Of Eternity"

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After pushing back the release of a first song and the official drop date for new album "Pale Communion," Swedish regressive rock band Opeth has now released the track "Cusp of Eternity" online.

You can hear the song along with an artwork video at Metal Hammer here, or check out the track in the YouTube player below.

"Pale Communion" is due out via Roadrunner Records on August 26th, 2014. The album's track listing will be as follows:

1. Eternal Rains Will Come
2. Cusp of Eternity
3. Moon Above, Sun Below
4. Elysian Woes
5. Goblin
6. River
7. Voice of Treason
8. Faith in Others

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17 Comments on "Opeth Streaming 'Cusp Of Eternity'"

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xFiruath's avatar

Content Manager

1. xFiruath writes:

Well, it's repetitive and simplistic, but it's also more interesting and less empty sounding than most of "Heritage," and you can make out some nuggets of classic Opeth sound in there, so maybe this one won't be a total wash.

# Jun 2, 2014 @ 12:32 PM ET | IP Logged Reveal posts originating from the same IP address
Anonymous Reader
2. Critic writes:

sounds like a rehashed version of Slither, it ended pretty good, but didn't leave me with much hope that it'll differ from heritage much

# Jun 2, 2014 @ 12:55 PM ET | IP Logged Reveal posts originating from the same IP address
Diamond Oz's avatar

Senior News Correspondent

3. Diamond Oz writes:

Nothing mind blowing but I liked it.

# Jun 2, 2014 @ 1:20 PM ET | IP Logged Reveal posts originating from the same IP address
Anonymous Reader
4. I like Metal from Sweden writes:

cool song

# Jun 2, 2014 @ 2:01 PM ET | IP Logged Reveal posts originating from the same IP address
Drum_Junkie's avatar

Member

5. Drum_Junkie writes:

Is it just me, or does anyone else hear the theme to 'Knight Rider'? :)

All in all, it's an OK song, but just it doesn't make me stand up and take notice like their older work. I honestly don't hear the passion in any of it.

I truly believe Peter Lindgren and Martin Lopez had a stronger contribution to the Opeth sound than they were given credit for.

I'm fine with the clean vocals - even the choral "ahh's" add a nice layer to the song, but the emotion is not as hard hitting as I think it could have been.

The many interviews in the past couple years, Akerfeldt has stated how unimpressed he is with most modern metal. I agree and support his desicion to avoid following the trend. However, being progressive by being retro seems a bit conflicting.

I had hoped Heritage would have been a one off deal where they honored their older progressive rock influences and this coming album would be a blending of that with the old Opeth. It doesn't seem it will be the case.
I fear the old Opeth and, dare I say, "real heart" of Opeth left after Ghost Reveries.

# Jun 2, 2014 @ 2:23 PM ET | IP Logged Reveal posts originating from the same IP address
Anonymous Reader
6. ImOnly17 writes:

Tool teh hatrz Opethque roolz.

# Jun 2, 2014 @ 3:34 PM ET | IP Logged Reveal posts originating from the same IP address
Anonymous Reader
7. JonBradley writes:

Drum_Junkie-
I agree with your statement about Peter and Martin.
I've had this odd theory about why Opeth was so amazing with the Mike-Peter-Martin-Martin lineup... it's a cultural thing. Mike & Peter being native Swedes where the Martins were both of Latin descent, and that somehow resonated through the music, especially the drums.

Opeth was all about CONTRAST. Heavy and mellow. Black & white (Deliverane & Damnation).. European/Latin. The contrast in their music is what defined them so well, but without it, they have become somewhat homogenized.

I'll still listen to this album, and most likely purchase it, because I can always find something good in their music.

# Jun 2, 2014 @ 7:37 PM ET | IP Logged Reveal posts originating from the same IP address
hellrat's avatar

Member

8. hellrat writes:

sigh** ---I wish it was heavier...I don't even need the death vocal or anything, but that tune just left the gate wide open for some serious heaviness and, eh....well, nada. They coulda laid down some meaty slabs of fat chordage instead of transgressing into that proggy noodling, but nay. I was hoping this new record would be a masterful mix, not a continued alienation of the old styles...

guess we'll have to see about the rest of it then eh

# Jun 2, 2014 @ 8:32 PM ET | IP Logged Reveal posts originating from the same IP address
ssdd_13's avatar

Member

9. ssdd_13 writes:

meh...too prognostic (new word) not worth a second listen.
& yes for a second I did hear Knight Rider theme.

# Jun 3, 2014 @ 12:32 AM ET | IP Logged Reveal posts originating from the same IP address
Anonymous Reader
10. Houston from Houston writes:

I enjoyed the track and most definitely enjoyed heritage ,I'll be picking this up for sure

# Jun 3, 2014 @ 8:58 AM ET | IP Logged Reveal posts originating from the same IP address
KREDD's avatar

Member

11. KREDD writes:

and this is the single everyone lost their minds over when it wasn't released on time?!?! ;)

# Jun 3, 2014 @ 10:48 AM ET | IP Logged Reveal posts originating from the same IP address
Anonymous Reader
12. hurocket writes:

Love this tune. So glad the silly Cookie Monster vocals are gone for good. Those don't make a singer sound evil, just constipated.

# Jun 3, 2014 @ 12:28 PM ET | IP Logged Reveal posts originating from the same IP address
Borntomosh's avatar

Member

13. Borntomosh writes:

Seems like I might be in the minority here, but I thoroughly enjoyed this. I've never really seen the more recent Opeth albums as a decline in sound; more so an "experimental" direction for them. Sure, it's not the same style as albums like Ghost Reveries or My Arms, Your Hearse, but I still get the Opeth feel from it 100%. I'm excited for the full album. To each their own, obviously, but just my personal view on it lol

# Jun 3, 2014 @ 12:42 PM ET | IP Logged Reveal posts originating from the same IP address
Drum_Junkie's avatar

Member

14. Drum_Junkie writes:

WARNING!!! Long boring a$$ comment/critique forthcoming. (may be delayed due to moderator approval.)

# Jun 3, 2014 @ 2:12 PM ET | IP Logged Reveal posts originating from the same IP address
Drum_Junkie's avatar

Member

15. Drum_Junkie writes:

From Greg Kennelty’s metalinjection (p)review of the Album back in March:
“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 motherf***er 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.”
I’ve tried to be impressed by this song, but I really don’t hear the song the same way as Greg. “one seriously fat motherf***er of a riff”? Really? When I think of a fat riff from Opeth, the opening to Master’s Apprentice or the chorus riff to Serenity Painted Death comes to mind – not this. It’s not bad, but the endlessness of it dilutes its impact. Adding to the repetitive nature is the riffs’ lack of a tail. The complementary call and response guitar lines used to be an Opeth staple. (RIP Akerfeldt/Lindgren duo). One other Opeth signature that is present is one guitar wailing mournfully over the darker main riff. I do like that about this song. And while I disagree about the Bohemian Rhapsody comment, I do agree that the solo was a highlight of the song. The keyboards also are admirably done. The drums scream a cover of Zep’s mighty Immigrant Song. Granted, its big shoes to fill to emulate Bonham. The ride cymbal is also very ‘clunky’ to me. The bell accents sound more forced than nuanced, but that seems to be Axenrots’ style. Given, he’s been in the band as long as Lopez was at this point, this drum sound is the sound of Opeth. The song is not bad, but I can’t say with confidence that it is good by Opeth standards.
Another gripe I have is the media’s continued categorization of this as progressive. It’s not. It’s retro. Progressive, by definition means to progress – to move forward. Adopting a sound from 30+ years ago is not really breaking new ground. It may be a novel idea and is not the status quo for a ‘metal’ band, but it is by no means progressive. One thing about the true progressive artists from the 70’s/80’s is that, even today, their music is timeless unique. King Crimson, Yes, Rush, and those in that echelon have lasted without some other band successfully emulating them though many have tried. For Opeth to pay homage to their influences is not moving forward – it’s looking back. Not Progressive.
With all my rambling, I do realize this is only one song out of 8. Hopefully for the remainder of the album, there is more emphasis on Contrasting dark/light moments, and varied ‘movements’ within the songs. Still, I’m not getting my hopes up. And fear not dear readers, this is my last rant on Opeth. Any further comments from me on Opeth will be more succinct.

# Jun 3, 2014 @ 2:12 PM ET | IP Logged Reveal posts originating from the same IP address
ZMA's avatar

Member

16. ZMA writes:

Maybe one day Opeth will be heavy again.......maybe.

# Jun 3, 2014 @ 5:39 PM ET | IP Logged Reveal posts originating from the same IP address
RememberMetal?'s avatar

Writer/Reviewer

17. RememberMetal? writes:

Utterly immemorable. This is disheartening in the extreme and it kills me to mimic the "wheres the metal?" Opeth fans. If I wanted to listen to Queens of the Stone Age I would buy one of their albums.

I don't need Opeth to be metal (I love "Damnation") or even heavy but this is just simple, thin, and off-putting. In an effort to escape metal, I feel like Akerfeldt is losing other crucial elements. I'll give "Pale Communion" the time and effort that a band like Opeth deserves though. I loved every Opeth album from the start but I did have to warm up to some of them to fully appreciate them. "Heritage" never quite grabbed me though.

On a glass is half-full note, the guitar solo is f***ing great and Akerfeldt's vocals are quite strong, the song itself is just... wrong. There is a yawning, cavernous void where the passion and dynamic interplay used to be.

# Jun 8, 2014 @ 4:44 AM ET | IP Logged Reveal posts originating from the same IP address

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