OPETH
That time has befell us once again. The release of a new OPETH album is seemingly hailed as the return of some spiritual messiah and rightfully so. Ever since I first indulged myself in Morningrise some years ago I have inducted myself into the Cult of OPETH. So as the seasons changed and we awaited through rumor and busied speculation on what the band would bring us, we all were certain that they'd not fail in their crusade to adorn us with yet another masterpiece. As most of you know this was to be a double album, the second disc being an experimental, acoustical take on the band's creativity. As it turns out OPETH have delayed the release of this second disc, until the chill of January sets in. Fine by me, I thought. Perhaps two discs would be too much to handle all at once. So, as I flipped open my mailbox and stared at the package awaiting me, knowing what it was, I cleared my mind of all thoughts, shut my doors and turned down the lights, slipped the disc into my player and sat patiently for the music to begin. It was a perfect day for this album to arrive: rainy and cold. What better weather for an OPETH listening session?No creme puff intro's open Deliverance. The album explodes into "Wreath" with a chaotic, shuffling riff and associated quirky drum beat. What was immediate was the bold production, which we would expect, of course. However, this surpassed what even I anticipated. The clarity and definition is unsurpassed with every instrument given more than it's fair shake. As Mike Akerfeldt's demonic vocals enter the fray I am reminded of Blackwater Park's opening track. Not unlike many OPETH songs, "Wreath" eventually breaks into the classic, sweeping, trademark OPETH transition with its sorrowed and hopeless, slow-motion gallop. We've heard this pattern so many times on other OPETH albums that it comes as no surprise whatsoever. The track features some nice leads and grows darker near its end when the cleaner, singing vocals appear, casting an eerie and mesmerizing aural fog across the soundscape. I was impressed of course, as I knew I would be. However, I can't claim its anything truly innovative for a band who seems to hold the rights to the word 'creative'.
The title track is one generally regarded as the best on any album. With only 6 cuts on Deliverance, one of which is a rather pointlessly short instrumental, I would have bet the farm that "Deliverance" was going to absolutely floor me. Again, a good song with some great transitions, vocal trade-offs and patented OPETH architectures but nothing out of the ordinary for the band. The only true nuance in this song is the fantastic and complex drum and guitar segment near the close that has you trying your utmost to pin down exactly how they came up with something this clever. It is at this point however, after nearly 25 minutes have elapsed, that you realize that while Deliverance is 100% OPETH, its hardly their greatest work. This isn't implying disappointment, at least not at this juncture, only that 6 albums into their career the band may have become firmly 'bogged down' in their own style.
"A Fair Judgment" is up next and proves to be the most accessible track on Deliverance. No demonic growls manifest and this one borrows heavily from the old 70's influences the band have long employed. I found that I really enjoyed this track more than the others, at least early on. Eventually we arrive at a track called "Master's Apprentices", driven by a militaristic, marching cadence and rigid construct. Again, I would like to report that some new chemistry is injected but honestly, though I was entertained, this sounds as if it could have been lifted off of Still LIfe. It isn't until the albums closer, "By The Pain I See In Others", that we experience something new from the mind of the band. Nearly 14 minutes in length, this one takes us through more dark, shifting emotion and is probably the most unpredictable track on Deliverance.
As the album fades into it's end the listener is certain to question where the band are in their careers. I know I did and still do. Yes, this is unquestionably OPETH in every way. Perhaps that is what might make some fans start to wonder how much longer they'll find the band worthy of deistic praise. I certainly like Deliverance but confess that its neither the band's catchiest nor their most creative and that said, I fear that they've exhausted their current formula for success. The last three albums have bore a close resemblance to one another, perhaps to the extent that many of us will find this one the less impressive of the lot.
It matters not what any critic or fan says about Deliverance. You'll run out and get it if you already haven't and by all means you had better do so. Just don't expect to hear something from OPETH you haven't heard yet. Deliverance does deliver, just not as strongly as any of the others.
