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2 of 2 people found the following review helpful:
5.0 out of 5 stars
They've done it again..., 28 Jul 2008
I tend to get nervous when Opeth release a new album, because I'm always worried that their insanely high standards will one day slip and they'll give us something that doesn't blow us away. I'm happy to say that I'm still waiting for this to happen. Watershed is absolutely superb.
Some have criticised some of the newer elements on here, but I think they all work. The addition of the female voice on the opener is a great touch, and I love the funky breakdown in Lotus Eater - to me there is no suggestion that it was just chucked in there. Even the detuned guitar trick sounds right, and it's pretty hard to take a piece of music that's meant to sound bad and put it into a song so it doesn't just sound like exhibitionism.
As has been pointed out, there is less death metal growling on here than many of their albums, but that doesn't bother me, as Mikael's clean vocals are getting better and better over time anyway. His vocal performance on Burden is marvelous. And he CAN still do the growls when he wants to, as Heir Apparent will prove.
The "new guys" (Axenrot and Åkesson) fit in very nicely, and Per Wiberg really starts to make his presence felt with a lot of proggy keyboard work. Åkerfeldt is still the core of the band, and without him Opeth would no longer exist, but he knows how to surround himself with talent and write to their strengths.
It's tricky to pick out a best song, because Opeth's albums aren't really designed like that, but for me, Coil, Hessian Peel and Heir Apparent are especially excellent. But the album works brilliantly as a cohesive whole, and should really be listened to in this way.
I can now relax until they announce their next album, whereupon I'll start getting unjustifiably nervous again!
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
4 1/2 stars really, 8 Jul 2008
Opeth's latest offering, "Watershed" was really something of a surprise, and comes as proof that they will never let us get comfortable and settle into a predictable rut as so many talented bands do. Instead, Opeth continue to challenge their listeners with something really quite different, not only from "Ghost Reveries" but also from all their previous albums. Of course it is still unmistakably Opeth, with Akerfeldt's trademark vocals and their unique combination of blasting death metal ferocity with mellow acoustic brilliance and awesome prog solos. However they have gotten a bit more experimental on us and mixed in some touches of jazz/blues (for example in the beautiful "Burden" and the unexpected funk section at the end of "the Lotus Eater"), a few moments of strings and flutes in the awesome "Heir Apparant", some very effective but not overused female vocals in the stunning opener "Coil" and the unexpected humour of the discordant ending of "Burden".
"Watershed" is also pleasantly varied and progresses very neatly through different styles, blending them together perfectly. They move very skillfully from the mellow acoustic sadness of "Coil" with its moving female vocals and beautiful lyrics into the brilliantly heavy, fantastically discordant "Heir Apparant", moving into the jazz tinged acoustic perfection of "Burden", then varying between the heavy and the melodic with their usual ease throughout the remaining songs. Some of them don't quite hit you at first and take a few listens to appreciate. Initially, hearing the complete change of direction of "The Lotus Eater" and the discordance of "Heir Apparant" I wondered what had gone wrong with Opeth, but "Watershed" is one of those albums that you will still be listening to in a year's time, not something catchy which hits you on the first listen and then you forget about it. I still think "Ghost Reveries" and "Still Life" probably can't be beaten, but "Watershed" hardly fails to live up to expectations.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Sublime, 21 Jun 2008
For starters let me just make it clear that i am an avid fan of Opeth, and am therfore likely to be rather bias in their favour. That said, I have to say that this album is a joy.
As with other albums, 'Watershed' shows a further maturity, and new sound, as has become the hallmark of Opeth, with almost every album seemingly heralding a reinvention of one sort or another.
The key aspect of this album is the presance of contrasts. 'Coil', the opening track, is largely acousticly based, and shows off Åkerfeldt's ear for harmony and melody in a fashion which is not often showcased by progressive metal bands. Lyrical vocals, together with orchestral backing and a female backing vocalist make this piece all the more striking. Though it may seem a curious choice of instrumentation it works, undoubtedly.
The remaining 6 tracks generally provide a mix of intense riffs and vocals, against sudden breakdowns and instrumental (often orchestral) interludes. At times you may hear timbres more usually associated with jazz or folk, such is the wide ranging pool from which influence for this album is drawn. Particular favourites of mine are 'The Lotus Eater' and 'Hessian Peel.'
A further element of this album which is immideitely noticable is production. The sound of the overall mix on this album is extremely pleasing, as is the level of care taken over the voicing of each instrument, the clean and deep acoustic guitar of 'Coil' is case in point.
One percievable drawback is the sheer length of tracks, the longest is just short of 11.30, and this means that Opeth are not the most accesible band for the casual listener, but given time, this album leaves a lasting impression.
A strongly recommended, and beautiful work.
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