Opeth- Damnation
I had heard of Opeth and even had a couple of their albums- very heavy metal, of the death/speed/black metal variety, that is not my usual fare.[1] An Internet colleague with an impeccable taste for avant-garde music of all types had recommended Damnation and another denizen of the Net, known for his depth of knowledge in all things progressive, clued me into the recent Steve Wilson remix. The album was, at the time, apparently an outlier for Opeth; the crunch and growling voices were replaced by natural vocals and far more melodic themes. Although Wilson had mixed the original album when it was released separately, the remix is now part of a package with Deliverance, a more traditional Opeth album that was intended to be released together with Damnation. Instead, the albums were released separately, until now.
I’m told that Damnation was and remains a polarizing album for Opeth fans; for me, it is a revelation.
It has been released separately several times, but I recommend that you buy the two-fer with Deliverance, not only for the remix of Damnation, but because the quality of the vinyl, the mastering and the added bonus of Deliverance[2] make for a compelling package.
This is the kind of record that is best appreciated in a solo listening session—it’s mellow, and doesn’t demand immediate attention (though the sonics of this remix are very impressive). It has the characteristic of some of the classic “prog” records from the early ‘70s- longer form compositions that evolve and morph, with catchy hooks, synth fills and psych guitar parts. Its drama rests in part in its slow evolution and unfolding, rather than some “one-two punch.” (Which is why I recommend it for a quiet, more reflective listen alone). Damnation also has an angularity and intensity that underlie it- you can imagine what this album would have sounded like if it had been performed in more typical heavy metal fashion. Instead, you get to indulge in some great melodic and rhythmic explorations. This may be the Opeth album for non-fans, but it is a hell of an album and is highly recommended. I find it haunting, and have come back to it multiple times since I bought it a few months ago.
We’ll explore more of Steve Wilson’s work in the future. In the meantime, I’m seriously thinking about going to hear Opeth when they perform this fall in Manhattan.
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[1] Nothing against “metal” on my part, but I guess I listen to the earlier stuff, and not the growling voiced, rage filled non-melodic stuff, which in my estimation, has a “sameness” about it that eventually becomes tiresome. I hear that at the gym being played during cross-fit sessions (which I avoid). It definitely pumps you up, but I lean toward more melodic stuff. Metal fans are welcome to correct me on the subgenres, but I raise this only to clarify my “bias,” not because my views should reflect any absolute. I do regret that Pat Boone’s In a Metal Mood was never released on vinyl, though.
[2] Also remixed, by Bruce Soord. See, discography/credits at http://brucesoord.com.