STILL LIFE

There's been a few middling to negative reviews on this album in recent months, so i'd like to put in some good word for this legendary release. This record follows up my favorite Opeth record: 'My Arms Your Hearse,' and to me, these two albums go together very well and act as somewhat of a second chapter of Opeths career. Though Martin Mendez was technically a member of the band during the recording of the previous album, he wasn't able to learn the bass parts fast enough. In turn, he makes his Opeth debut on this record. So the full classic lineup of the band is playing, and in addition, the production is the best it ever was at this point in the career. Yet it still strikes a balance as to where it's not TOO clean. I think Opeths music gains a certain texture and charm with some of the production imperfections. Looking at the bigger picture, this album tells a beautiful story throughout its tracklisting, and the material is just consistently some of their strongest ever. The album opens with the powerhouse that is "The Moor." This was the first Opeth song I heard and though it didn't click on first listen (it was my first time with harsh vocals!), as I began to understand the appeal of harsher vocals, this quickly stood out as a remarkable cut. It opens with a considerably bold and menacing intro, as if something malicious is brewing beneath the surface. The band takes you on a full showcase of everything they're about, with filthy riffs and touching melodic softer passages, their sound now fully realized. Godheads Lament is another massive track that keeps that very high bar. This track in particular has one of my favorite melodic passages in all of Opeths catalog with the "thought I could not leave this place on this imminent day," section. There's really not a dull moment to be found within this one, I never feel like I'm listening through waiting for my favorite part to come up. Rather, every 20 seconds it feels like they're playing my favorite part of the song. Benighted cools things off a bit with a very introspective and intimate feel to it, drawing some comparisons to Camel with some pleasant and jazzy guitar leads. Moonlapse Vertigo (jeez, these titles are so metal!) drops you right back into the inferno with a very somber progression. Fantastic vocal melodies across this one and especially here, the contrast between cleans and growls really shines. This one does something unthinkable, around halfway through they break out into a almost happy sounding major chord with gorgeous melodic guitar playing over it. This really gets me, it's like a beam of light shining into a very dark place. Face of Melinda brings back that intimate feel, also aided by a very convincing and passionate vocal delivery. The acoustic guitar arrangements shine here, but it's the totally crushing and doomy riff that comes through in the second half that cements this one as a fantastic cut. The next track, Serenity Painted Death is brutal. "White face, haggard grin, this serenity painted death," imagine not headbanging to that passage. They break out into another passage which has a wacky rhythmic pattern of 5-5-5-6, while the guitar lead over it sounds like an evil version of Camels Echoes. As this track goes on and develops, it continues to just go from one awesome and interesting passage of music, to an equally great passage for its entire runtime. Now on the final track, White Cluster. This track has a certain feeling of rage and spite behind it right out the gate. It kicks into a section led by the words "this is forgiveness, so I know," the lead in and the accompanying instrumental during this part is so darn cool. It always makes me do the squinty metal face you make when you hear a nasty riff. The song does something a little interesting almost entirely fizzling out in the middle before picking back up and taking the song in a new direction with of course, a filthy riff. The album ends with a bittersweet feeling to the music, but it also ends with a satisfied feeling on my end.

This is essential prog metal, give it a few spins. Even as a massive Opeth fan, I did find this one to be a big grower and one that can be hard to wrap your head around at first. The songs are long, but once you familiarize yourself with some of the melodies and riffage, it starts to make sense.

5 Stars