Since their 1995 debut full-length Orchid, Opeth have been blurring the lines between progressive music and some of the heaviest music death metal has to offer. Though obviously the band has tapered off over the last decade in a lighter, more progressive rock direction, Opeth did offer a sort of middle ground in their mid-career output. From 2001’s career-defining Blackwater Park to 2008’s underrated Watershed, Opeth slowly scaled back their death metal tendencies in favor of more melodic vocals and ’70’s-style keyboard progressions, but the band’s ability to balance both resulted in some of their most critically – and commercially – successful material to date.
Rarely is that dichotomy more apparent on 2005’s Ghost Reveries. Arguably Opeth’s breakthrough in North America (remember “The Grand Conjuration” on Headbanger’s Ball and FUSE TV’s Uranium? Same), it’s a record that still contains the death metal from their past (remember, Deliverance was only a couple years old at this point), but blazed an accessible new trail that no doubt brought in many new listeners.
Ghost Reveries also has that all important “edge of your seat” quality. Seriously, some of the best parts of the album come out of seemingly nowhere, like the guitar break 1/3 of the way through “Reverie / Harlequin Forest”. For a metalcore analogy, think of it as a breakdown. Kind of. Whatever you want to call it, it’s fucking awesome. Tonal shifts abound on the record, and they are surely exciting. One of the best parts about the album is the fact that every member has a chance to shine (and multiple chances, really). Drummer Martin Lopez, in his final performance on an Opeth album, nails interesting drum fills and transitions from rhythmic drumming to chaos. Peter Lindgren, in also his final appearance on an Opeth record, proves he’s one of the most talented guitarists out there – in particular on tracks like opener “Ghost Of Perdition”. Per Wiberg was also introduced this record, and his handprints are all over this album as well, with new kinds of atmospheres and interesting electronic effects.
Thankfully, there are plenty of calmer and more melodic moments that helped increase Opeth’s fanbase at the time. In fact, it’s sparse, mostly instrumental tracks like “Hours Of Wealth” that provide a sort of respite within the album’s intensity and lengthy runtime. Mikael Akerfeldt is at his best when these kinds of tracks shine through. There’s even acoustic sections that both dominate some tracks, and fill gap space within others (like “Reverie / Harlequin Forest”).
“The Baying Of The Hounds” leaves no doubt that Ghost Reveries is a metal album at heart, though. Prog-laden keyboards give way to some of the heaviest riffs Opeth have ever put to tape, and it’s one of many tracks where Akerfeldt gets his point across by roaring into your head. It really managed to hit hard and honest sounds pretty evil.
There’s very little that goes wrong on what might be considered Opeth’s finest hour (a little over, actually). Over its 8 songs, there’s just about everything a fan of Opeth could want, whether on the death metal side of things or the progressive, melodic route. With new influences entering the fray, Ghost Reveries manages to both be a great album for fans of the genre, as well as newer fans who might not be super used to the more death metal side of things. Highly recommended.
