DAMNATION

Releasing a mostly acoustic-based progressive rock album really isn't as radical for Opeth as the marketing campaign suggests, as songs like "Benighted", "Credence", and "Harvest" have showcased this aspect of the band's sound before, firmly establishing them as more than an ambitious metal act. Because of the high quality of such material, it is no stretch to imagine Opeth pulling off an entire recording of this style, and considering that the presence of this "mellower" approach on recent works has practically saved the band from becoming entirely boring, this concept is quite a welcome one, indeed.

"Awaiting word on what's to come In helpless prayers a hope lives on As I've come clean I've forgotten what I promised In the rays of the sun I am longing for the darkness"

Damnation is apparently supposed to act as the second installment of a two-part series beginning with Deliverance, released just a few months earlier. As that particular work featured Opeth in standard formation, perhaps leaning towards the heavier end of their sound-spectrum a bit more than previous albums, Damnation features a contemplative approach largely presented through introspective acoustic rock songs reminiscent of 1970s folk-rock progressives, or for a modern parallel, a more reflective Porcupine Tree. The songs carry a melancholic weight in an expression of a certain longing for release from human suffering born from emptiness and isolation in the aftermath of failed understandings. Most of these tracks work splendidly, flowing in graceful motion led by Akerfeldt's smooth singing. The fluid guitar-work here is excellent, of course, however it is the clever and tasteful percussion work of Martin Lopez that is really given a chance to shine through this recording. The warm and organic production rewards the sound of his kit a wonderful clarity, highlighting each hit, stroke and brush beautifully. His accents on these rhythms provide the music a property of elegance and richness.

Other than the similar theme of sleeve artwork (gorgeously designed by Travis Smith), there exists no clear link between Damnation and Deliverance. This album stands on its own as Opeth at their most bare, both musically and emotionally. The songs are stark in structure, with occasional forays into experimentalism, but always returning to a core theme. The three standout cuts here are "Windowpane", "In My Time Of Need, and "Hope Leaves". Each of these songs represent Opeth's mastery of poetic expressionism through motion of sound, but more importantly, portray an atmosphere of misty stillness that fills the room and envelops the listener in thick, grey clouds of sadness. Regardless of approach, this is Opeth at the top of their craft. Towards the end of the album, things grow a tad tedious, but the majority of this material is of high class and character.

"There is a wound that's always bleeding There is a road I'm always walking And I know you'll never return to this place"

Damnation is easily the most listenable and rewarding effort from Opeth in years. There is a depth within these songs that transcends anything from Deliverance or Blackwater Park, and an emotional presence not so convincing since Morningrise. In many ways, and while far from perfection, this is the album Opeth desperately needed to make to reaffirm their position as one of the most creative and talented acts of this current time, and also to disrupt the fade into formulaic routine that has been in effect over the course of the past few releases. Damnation suggests that Opeth are far from having exhausted their creative energy as seemed to be indicated by recent work, offering engaging songwriting and soulful expression through ingenuity.