ORCHID

As far as debut albums go, this is about as impressive it gets. When Orchid was released upon an unsuspecting underground metal scene, it represented an original, innovative and richly talented band in a scene where such traits are a frequent rarity, especially among new bands. Merging various forms of metal and taking in influence from outside the metal spectrum, Opeth were immediately unclassifiable. Were they black, death or doom? What genre do they fit into? Critics struggled with applying appropriate terms to describe and label the music of this truly gifted entity from Sweden. Rarely does such a band come along, and it seemed that something truly special had been delivered with Opeth's arrival.

The fact is that Opeth's music is neither death nor black metal, though it does contain elements of both (particularly within the vocal approach) as well as many other styles. The best way I can describe the Opeth sound is to imagine an obscure 70's progressive rock act trying their hand at melodic death metal. Of course, there is much more to the equation than that, but as an attempt to sum it up in a short context, it's about as accurate as I can get. With the exception of two instrumentals ("Requiem" and an impressive piano instrumental performed by drummer Anders Nordin, " Silhouette"), the songs are quite lengthy, averaging close to the ten minute mark, and are highly involved constructions. Within any given track on the album, there can be heard melodic, Gothenburg-styled metal, ethereal/folk acoustic sections, slow, melancholic moments, complex rhythm structures etc., etc. etc,...But it must be noted that during any given style, let's say for instance, the melodic death oriented moments (which never reach even mid-thrash tempo, the band usually operating at mid-pace), it is performed in such a fashion that is enough to inform the listener of the influence, but unable to link it to any particular band. That is the secret to Opeth's individuality. They take in their inspirations, but not once do they emulate them, instead, fusing them with their own ideas as to create something wholly unique.

All four musicians that make up Opeth are very talented, from the impressive rhythm section (who can go from holding down a solid foundation to complex, intricate patterns in a flash) to the guitar tandem of Mikael Akerfeldt (who is responsible for the majority of the writing) and Peter Lindgren, who manage to create some quite stirring atmospheres by way of electric and acoustic means. In fact, that is what the music of Opeth revolves around: atmosphere. As involved and complex as this material can be at times, things never sound clinical. There is feeling in every passage of every song. Akerfeldt's vocals are monstrous, scathing and very convincing, also proving his talents in the clean singing department during certain moments. But the most impressive aspect is in how these lengthy epics flow, never allowing the listener to become bored or inattentive, such is the masterful crafting and arranging on display.