[REVIEW] Opeth - Watershed

[malde]

Voe: 03.06.2008

Genre: Progressive Death Metal

Tracklist:
1. Coil
2. Heir Apparent
3. The Lotus Eater
4. Burden
5. Porcelain Heart
6. Hessian Peel
7. Hex Omega

Spielzeit: 55:00

In many ways Ghost Reveries stood as a kind of reaffirmation of Opeth�s abilities, not so much to placate their ever-anxious fanbase per se, but as a regathering of their thoughts in lieu of the much maligned Deliverance/Damnation era which saw a hideous recording process for the former (leaving mainman Mikael Akerfeldt to later proclaim his antipathy towards said work) and all kinds of fevered debate over the latter (a collection of strictly mellow moments with a distinct 70s flavour). Ghost Reveries retread the band�s tried �n trusted pastiche of long, winding epics, all pervasive riffing and occasional melodic noodling to great effect, the introduction of Per Wilberg on keys proving an unobtrusive gesture towards their vintage tendencies. If Ghost Reveries is thus to be viewed as a swansong of the Opeth of masterpieces such as Blackwater Park and Still Life, then Watershed is most definitely the clearing of the decks, the journey off the beaten path and the forage into pastures anew (to use a string of �moving forward� cliches in one sentence!).

It makes sense for Watershed to exhibit a bevy of new facets for Opeth. Long-term guitarist Peter Lindgren has departed, and his replacement is ex-Arch Enemy member Fredrik Akesson - an axeman of considerable talent whose contributions on Watershed lend an air of shred which is as at odds with Lindgren�s more bluesy approach as it is Akerfeldt�s melodic, progressive stylings. As well as Akesson�s addition comes drummer Martin Axenrot, replacing Martin Lopez. With two new members on board, Watershed certainly has a feeling of renewal about it, and this becomes apparent as the opening acoustic strains of the 3-minute �Coil� appear, Mike�s clean vocal range immediately sounding more vibrant than ever before. A touching, almost sentimental sounding opener, �Coil� eschews the traditional walloping Opeth first-track (see �April Ethereal�, �The Moor�, �The Leper Affinity� or �Wreath�), weaving a gentle, Led Zeppelin-inspired acoustic strum amidst Akerfeldt�s emotive singing and some surprising female vocals (Nathalie Lorichs). �Heir Apparent� proves to be the most familiar song on Watershed, a doom-laden beginning eventually exploding into a Morbid Angel-esque tirade before winding down - in typically opaque Opeth fashion - to a gentle acoustic interlude that once again blasts off in manner not unlike Blackwater Park�s title track. Akerfledt�s growling proves inimitable as always, their affect sounding slightly altered by some well-mannered studio trickery that gives them a forceful, multi-tracked ferocity. �Heir Apparent� acts as a buffer to Watershed�s truer nature, however, as �The Lotus Eater�s blastbeats and clean vocals stun the listener as an Opeth first, whilst Per is given his first shining moment as the band launch into a bewildering funk-prog moment. �Burden�, meanwhile, proves to be one of the band�s finest moments, as Akerfeldt croons will all the magesterial confidence he had always promised and finally delivers on Watershed. �Burden� plays like a twisted homage to Deep Purple, Per�s hammond-solo and Akesson and Akerfeldt trading solos working beautifully together, whilst the song winds down in as bizarre a manner they come as Akerfeldt�s guitar is literally detuned in the middle of a wondrous acoustic guitar lick that, whilst puzzling, makes perfect sense in the context of Watershed as a whole - an album full of strange avenues, subtle surprises and inspired songwriting.

Axenrot aquits himself excellently in the drumstool - his style exhibits a looseness that is in perfect sync with Watershed�s slight air of chaos - witness his severe off-kilter drum spasm on �Porcelain Heart� for proof if you will. Despite the multi-faceted nature of Watershed, it just may stand as Opeth�s most cohesive work yet (�Porcelain Heart�s somewhat disjointed structure notwithstanding). Never before have the band sounded as confident and self-assured as they do here, for example Per�s excellent integration of his keyboards into more than an embellishment but as an integral part of the band�s tapestry. Watershed plays more like a 70�s progressive rock album than anything really related to death metal - a fact that may diappoint those who found the band through My Arms, Your Hearse or Deliverance - but for those of you who have seen Opeth through their colourful journey will surely recognise that Watershed is another essential step into the realms of metal immortality. (Quelle: choronzonix.wordpress.com)

Persoenlicher Nachtrag:
Auch wenn ich gestehen muss, dass ich Opeth erst vor kurzem wirklich fuer mich entdeckt habe, hat es doch bei den Jungs ziemlich schnell gefunkt. Die neue Scheibe ist sicher auch ein Grund dafuer. Ich weiss nicht wieso es so lange gedauert hat, oder ob es dadran liegt, das ich noch nicht allzulange auf der Progressive-Wolke schwebe, aber bisher sind Opeth einfach an mir vorbeigegangen. Dadran haben auch die vielen Genialitaetsbekundungen nichts aendern koennen. Watershed schon. Ich war selten so schnell begeistert von einem Album. Und noch viel seltener hat mir ein Album eine komplette Diskografie (die ja bei Opeth bekanntermassen durchweg grossartig ist) in einem ganz neuen Licht erscheinen lassen. Obwohl ich ja bekanntermassen eher ein Fan von clean Vocals bin, ist Opeth die einzige Band bzw. Akerfeldt der einzige Saenger, bei dem mir die Growls sehr gut zusagen und sich perfekt in die Musik einschmeicheln. Ein neues Meisterwerk in der Diskografie der Schweden. Anspieltipps: The Lotus Eater, Porcelain Heart
verdiente 9/10

Myspace: myspace.com/opeth