Damnation Reviews

For too long (since the late '70s), progressive rock has been anything but progressive. It's a bold statement, but the walls are clearly ready to be torn down. Somewhere between Led Zeppelin and Black Sabbath, Camel and Cressida, and Landberk and Porcupine Tree, Sweden's Opeth are doing just that on Damnation. Far more than a simple synthesis of their non-metal influences, the album is one of true vision, beauty and power. True, Opeth have given snapshots of this potential on previous albums ("Credence", "Benighted," "Face of Melinda" and "Dirge for November"), but Damnation, in its entirety, is congruous, and doesn't have the wild variation of mood and atmosphere changes common in their songwriting weave. That's not to say, Opeth's first non-metal album isn't the same caliber. Rather, it's frighteningly superior. There's no question of the quartet's talent and unique approach to metal, yet when allowed to explore music without the shackles of aggression and distortion, their musical range dramatically increases and so too does their ability to write breathtaking music; progressive or not. It may be a surprise, however, that Damnation isn't similar to frontman Mike Åkerfeldt's Sorskögen project. Although, there are elements and ideas from Sorskögen, the music is of a more subtle and timeless variety, especially in the use of mellotron. In fact, the use of mellotron is very calculated. Unlike many of their '70s influences, ebony and ivory are never obtrusive or jarring to a song's forward momentum; much of producer Steven Wilson's playing is barely noticeable, a testament to the delicate manner in which they're employed. If, perhaps, Opeth had ventured too far into the use of mellotron and keyboard (like Sorskögen), Damnation wouldn't be as dynamic, as the instrument and how it is included in composition tend to impede on longevity. Like it or not, Bardens, Lord and many other keyboard players overplayed in what seems to be an attempt to compete with the guitar player(s). Consequently, many recordings, however earnest, haven't aged well. Not Damnation. The choice of instruments (mainly mellotron) was deliberate, but not to the detriment of Opeth's impeccable songwriting flow. Opener "Windowpane" isn't like anything you've heard from Åkerfeldt and company. Lyrical yet centered, "Windowpane" travels on a serpentine jazz/blues theme, where riffs turn into movements and solos sing of remorse and loss, respectively. The use of mellotron underscores the song's melancholy, and so too does the smoky quality of Åkerfeldt's voice. Not powerful in the traditional sense, his fragile yet graceful tone is compelling enough to compensate for a massive range. Furthermore, his voice, as complemented by Wilson's higher, honeyed vocals, is delivered throughout "Damnation" with haunting effect; whether it's of a lost loved one or merely vocalization of the Scandinavian temperament, Åkerfeldt's timbre is reserved and overcast. By the time second song "In My Time of Need" hits, Damnation's spell is difficult to break. "In My Time of Need's" beginning vocal arrangement appears clumsy and strange, but its rhythmic wording leads into a stunning chorus that's accompanied by a simple strum and cinematic mellotron. Yet it's at the song's mid-section where their full wherewithal is unfurled. As a band, Opeth are untouchable: drummer Martin Lopez and bassist Martin Mendez are inseparable and their accents and inflections aren't of pretension, but rather how in tune they are with the music and its feeling; guitarists Peter Lindgren and Åkerfeldt again illustrate the faculty to effortlessly drive home complex arrangements and moving acoustic jams with the verve of Andy Latimer (Camel) and Peter Green (Fleetwood Mac). Every note on Damnation is full of feeling and meaning, as if crafted out of sheer determination -- not to make a statement, but to be one. "Death Whispered A Lullaby" is one such statement. Humble and serene (Nick Drake), experimental and edgy (early King Crimson), Opeth blur the line between folk and progressive rock. It's certainly something they've tried before, but this time it's complete and resonant; even the soloing presents a juxtaposition of unbridled electricity and smooth technicality. Damnation takes an adventurous turn midway through at "Closure." Against a backdrop of acoustic guitars and Åkerfeldt's bare voice, Opeth build on a Middle Eastern-flavored motif that puts the rhythm section forward, and to spectacular results. The hypnotic effect explored on "Deliverance" and "A Fair Judgement" works just as well in this capacity, especially at the end when Lopez's (surprisingly) skilled hand drumming and tambourine fill out the piece. A song such as "Closure" reveals Opeth are far and away in their own class of musicians and songwriters. Sadly, it cuts abruptly, ending what could be an amazing fadeout; "Serenity Painted Death" ended just as suddenly, shattering that sense of security that every song ends as we've come to expect. "Closure" stops right as "Hope Leaves" begins. From ethnic hustle and bustle to plaintive rock song, Opeth willingly take risks. Fortunately, the strength of the material is such that song order and overall album cadence aren't the focus. "Hope Leaves," in any event, is a more evolved "Dirge for November." As such, Åkerfeldt is at the forefront, and his distant voice (a Porcupine Tree trick) again sounds of loss. In fact, the more "Hope Leaves" goes on, the more it's reminiscent of Porcupine Tree's visible distain and discontent with the world. "To Rid the Disease" is the pinnacle of Damnation. Whereas "Windowpane" and "Closure" shock with their diversity, "To Rid the Disease's" slow cascade and "Another Brick in the Wall"-like drum and bass march are unsettling, even as Opeth, in full regalia, transition into the fantastic chorus. The song's piano and evanescent effects feel more like ending credits to a hazy '70s suspense/horror film. The darkness of "To Rid the Disease" is brightened by the instrumental "Ending Credits," however. If ever Camel, specifically during Mirage and Moonmadness, were evident in Opeth's work, it's on this song. Inspired by the solo and guitar/keyboard interplay on "Chord Change" and "Nimrodel", "Ending Credits" rocks to a charming, distinctly Camel beat. Album closer "Weakness" is one of the group's most unadorned songs. Guitar, mellotron and voice form a gossamer bond not heard since King Crimson's "Moonchild." It's touching in its despondency, as is most of Damnation. As groundbreaking and majestic as Damnation is Opeth are in a troubling space. The album is mature and developed enough to fully stand on its own merit, and yet so is its companion opus, Deliverance. Should Opeth find more success in Damnation, it would make perfect sense to continue in this direction, but it would be a great loss not to hear Åkerfeldt and company play their hand at death metal again, if that's the intention. In any event, Damnation is a striking effort, and one that will change the way we perceive Opeth. After all, what's progressive rock if it isn't truly progressive?

Review by Chris Dick

After the previous two albums and browsing over the track titles to on this one ('To Rid The Disease'), I wasn't looking forward to this one. But god-damn! They've gone and changed on me! From devil worshipping psycho killers to Michael Jackson lulling some of his 'child friends' to sleep. As soon as the album opens you sense they've had a re-think, it's not a slight change of direction or a case of incorporating some extra influences to their musical palette but a complete overhaul to what sounds like a different group altogether! Gentle strumming leads us into vocalist Mikael Akerfeldt's, now gentle, soft voice (maybe he was a getting a sore throat?) Great landscapes of songs, each a mini epic with undoubted thematic qualities, broken up with some breathtaking guitar solos (I guess that's where the Blues comparisons came in). The songs almost ooze with an operatic quality and conjure up comparisons to the likes of Pink Floyd or even Yes. To call this a Blues album would be stupid. There are no 'Blues songs' as such, without a doubt there are influences and moments within the album you could say 'there's Blues in there' but that would be clutching at straws (the Blues is in every form of music to some extent anyway, isn't it?) I can see why this is being called a Bluesy direction for the band, the change from previous outings is profound and the calmer, more subtle sound is a vast improvement, so if the Blues was an inspiration to this fine and beautifully put-together collection then great, but more a modern Prog-rock record taking it's influences from many Classic Rock bands. If your looking for something outside the genre I would say this would from a worthy addition to your collection. An interesting and amusing moment (bare with me, I'm easily pleased), 'Hope Leaves' has an uncanny resemblance to Fleetwood Mac's 'I'm So Afraid', but buy then the Mac had gone pop so no Blues there sorry folks......

Review by Blues Matters - Darren Howells

Opeth return with the second installment of the Nacksving/Fredman recordings. Of the two, Damnation was the album that had my interest peaked and expectations basically off the scale. Yeah, Deliverance embodied everything that is the Opeth sound that has crushed many before and many to come, but the prospect of a purely emotional offering by way of the clean could have been monumental. Over the years Opeth have given us several tastes of acoustic intervals/sections that have basically left us all longing for more. So when the word came through the pipeline that Damnation would be exclusively the mellow side of Åkerfeldt, I patiently waited for the goods.

In the past, and I am sure it will happen again in the future as well, my expectations have almost ruined albums for me. It's the albums that come along without preconceived notions of design that move me the most and end up being some of the best albums in my collection. So in my opinion maybe I had already set up Damnation to fail, and I am not lying to you when I say I wanted this album to be so much more. We all can agree that Åkerfeldt has one of the finest clean voices in metal except for you fucking blow-hards that profess your hatred for the band because you obviously think Opeth are beneath you because they have such a diverse fan base and have seen some success within the metal scene. Your ludicrous comments pertaining to Opeth's lack of technical proficiency and Åkerfeldt's voice being shit are so fucking out of line and blatantly untrue that you do nothing more than make yourselves look like idiots time and time again. I read your fucking posts throughout the forums of the universe and I am in shock that you basically find it cliché to drone on about your misconceived opinions of this band in a fashion that you think makes you look more brutal, so in the end you can high five your even more dumbfuck friend that you have been trying so hard to impress in the first place. Any real musician can quickly attest that you are out of your fucking minds and there is solid talent throughout Opeth (Please "get dead" as soon as possible by the way). I am off topic and my apologies go out, but until I sit in the big golden throne with the biggest chalice of blood and can silence morons with an army of competent minions all too eager to cut down troglodytes with sharpened swords, I will continue to publicly loathe such ignorance.

Here are the facts, Damnation is precisely what I am sure you have already heard about it, but please allow me to repeat it for you. It combines a vintage 70's sound with a definite millennium production, not at all sounding rehashed or reused. All of the songs travel at a mid-paced tempo with acoustic/clean guitar tones throughout. Åkerfeldt's voice is exactly what you would expect by way of a smooth and precise delivery, although there is a sadness that does spill forth here and there which I assume is a bi-product of losing his Grandmother right before this recording. The addition of Steven Wilson working the mellotrons and electric piano fits all too well and was definitely a wise choice on Åkerfeldt's behalf. They move the album along from song to song and actually weave the overall somber sound of the album. Martin Mendez's bass performance is definitely above par and recorded with a more up front presence as it drives the album with a low toned roar, which I think is one of the reasons the actual recording sounds a bit fresher than any 70's style high on the treble endeavor. Martin Lopez delivers a "less is more" drumming style, and in all actuality there isn't a lot of room for flashiness behind the kit on this one anyway, so in essence it's nothing more than a solid offering. Peter Lindgren rounds the offering out with a comprehensive routine of backing up the man and enjoying the sights as he rolls on.

Looking back to when I finally got my hands on Damnation I felt somewhat like a school boy with a giddiness of finally popping his cherry. I soon found out that distinguishing song to song and the actual staying power of Damnation was definitely at an all time low. I wouldn't go as far as saying the songs are interchangeable, but their overall affect is less than moving. I found track 7 which is an almost Spanish sounding instrumental, Ending Credits (Why is the song not the last song?) to have the most personality because it stood out from the rest of the songs themselves. Personally I found track 3, Death Whispered A Lullaby, to be the most moving but I think this was from an actual lyrical standpoint versus a musical one. Damnation is far from a bad album but it doesn't move me anywhere to the degree I assumed it would, I expected to be taken on an emotional journey tossed from wave to wave. What I found was a solid album that makes for good background music or for a long drive on a Saturday afternoon. It doesn't hit the player when I need a good mellow fix that will offer more by way of emotive performance.

Bottom Line: I think Opeth's clean side of the universe should be left where it originally came from, smack dab in the middle of a heavy ass tune. It hits harder amongst them and the payload is ten fold. Presented as an album by itself the impact is no where near as fulfilling. I do however believe Opeth could pull off an album that does embody the music that delivers chills by way of the clean, but maybe next time more time itself should be spent on writing and less on the overall idea of having a ying/yang release. Should you buy this album? Of course you should, but keep your expectations at a minimum and I truly believe the songs will leave more of a lasting impression.

Review by MetalReview.com

There is sadness in beauty. And there is beauty in sadness. Opeth are painfully aware of the bittersweet balance between the two, and the fragile necessity of finding release through the pain of expression in order to appease the agony of silent suffering. Such things are evident in their 7th and latest experimentation Damnation, a melodic masterpiece of lost love, betrayal, hopelessness and the incredible beauty that is born from the ashes of such acute suffering. Rarely has there been a band that has been able to express emotion so empathically that the listener is overwhelmed with a sincere sense of loss so precise that it could have been their own. Opeth are absolute magicians in this sense. The music creates an ethereal, melodic atmosphere, forsaking speed and technicality for the simple beauty of heartfelt melody. Filled with acoustic rhythms, the occasional clean electric fills to complete the mood and the exceptionally beautiful solos you've come to expect from this band, the music alone is enough to induce a sense of sorrow and a strangely comforting feeling of acceptance of such a state.

This album also presents the most drumming freedom I have yet to see exercised on an Opeth album. To contrast the simple yet precise flow of the guitars and bass, Martin Lopez becomes a vital -- at times, driving -- factor in the flow of music. A truly superb effort by a very talented drummer, the album is abundantly full of pace setting high hat rhythms and irregular drum beats to keep any sense of monotony from setting in. Making various appearances on the album is Mikael Akerfeldt's close friend and Porcupine Tree frontman Steven Wilson, who provides some great atmospheric feels, courtesy of a Grand Piano and Mellatron. He also contributes some incredible backing vocals on several songs, which compliment Akerfeldt's beautiful vocals to absolute perfection. Add to that the lyrics for the song, "Death Whispered A Lullaby," and you have some pretty serious contributions by a phenomenal musician.

This brings us to the lyrical aspect of the album, which like all Opeth albums, is the most amazing facet of this band's unparalleled talent. Mikael Akerfeldt delivers some of the saddest and most heartfelt lyrics I've ever heard. One is easily able to discern the source of the album title, "Damnation," when listening to the various tales of forsaken loss -- as though Damnation is the only gift to be gained in living this life. Songs like, "In My Time Of Need," "Hope Leaves," "Weakness" and "To Rid The Disease" eloquently convey profound misery and loss and a sorrowful sense of resignation to a doomed state of existence. "At times the dark's fading slowly, but it never sustains. Would someone watch over me in my time of need. Close to ending it all, I am drifting through the stages of the rapture born within this loss, Thoughts of death inside tear me apart from the core of my soul." Anyone who has endured lost love, betrayal or sorrow of any sort should find some sort of release or cleansing through the beauty that Opeth have found in the grips of dark suffering. Certainly even Damnation itself can set you free.

There are only two issues with the album that could possibly have a negative effect on any listener, the first being that each song is uncharacteristically short. After 6 masterpieces with songs in average of 10 to 15 minutes in length, we find the longest song to come in at a mere 7:44, with the average song running from 4:00 to 5:30. This may tend to leave the listener craving the extended musical journeys Opeth has navigated us through in the past. The second is a sub-par instrumental called "Ending Credits," similar in feel to "For Absent Friends" from the Deliverance album (which should be of little surprise -- Damnation was recorded during the same session). A mere 3:39 seconds, it leaves much to be desired. Overall, however -- this is yet another musical masterpiece, presented in a flowing, encompassing contradiction of beauty and sorrow as only Opeth can capture.

Track listing:

• Windowpane*
• In My Time Of Need*
• Death Whispered A Lullaby*
• Closure
• Hope Leaves
• To Rid The Disease*
• Ending Credits
• Weakness
• (* Masterpieces of the album)

* * * * 1/2

Review by Death Chronicle, Contributor

Well here is is, what seems the most eagerly awaited Opeth Album ever, if the fuss generated about it in the past few months on the Opeth Fan Forums is anything to go by! Damnation is the "Sequel" to last year's Deliverance.

Deliverance was the all-out heavy album, and they promised that Damnation would be the laid-back, accoustic album. And they've delivered on that promise.

Once again Steve Wilson from Porcupine Tree is onboard as producer, and as expected, his influence really shines through on this album. The band's usual Progressive direction to songs has taken a back-seat on this album, with track lengths down to around 5 to 7 minutes.

Windowpane opens the album up nicely, setting the mood for the rest of the album. Simple accoustic guitars, interspersed with lightly overdriven electric solos and keyboards. Mikael Akerfeldt's soft vocals are as good as they were on Deliverance, and this album really gives him a chance to show us what his voice is capable of outside the usual heavy contraints of other Opeth albums. Martin Lopez's drumming is never intrusive, but still intricate.

In My Time Of Need starts off with a nice reverbed guitar effect, followed by some staccato style distant vocals (a Porcupine Tree trick), before the vocals melt into the foreground and reverb just like the guitars. Some really nice effects are used all through this track.

Death Whispered A Lullaby has a strong Bass element present from the start, and some of the guitar work is very similar to For Absent Friends, the short instrumental from the previous album. Once again, some interesting guitar effects in this track.

Closure contains some of the most Porcupine Tree'esqe vocals on the whole album, and is also one of the most dynamic songs, and as for the ending, well it certainly lacks closure!

Hope Leaves is one of my favourite tracks, it contains a bit of everything really. To Rid The Disease is my absolute favourite, it's slightly haunting, especially with it's use of piano.

Ending Credits is an instrumental, and it does exactly what the name suggests, but no, it isn't the last track, as there is an extra one! Weakness is a weird, haunting end to the album. It uses Mellotrons a lot, and doesn't sound like anything else on the album.

I've quickly written this review on only my second listen to the album, so hopefully I'll be able to expand my comments later on.

This is an absolute stunning album, I really can't imagine that anyone will dislike this, apart from some of the die-hard Opeth fans who aren't happy that the band have done a "soft" album. If you've never heard of the band, or you don't like heavy metal, you'll still appreciate this release, it really is an essential purchase.

Rating
* * * * * (5 guitars)

Wonderfull, Soulfull, Laid-Back - Buy It!

Review by Jaz

Recorded in the same sessions as 2002's 'Deliverance' album, Damnation was designed to show Opeth's softer, more sensitive side. Gone would be all the growled vocals and metal riffs of the previous albums, but what was to come was only hinted at by mellower songs such as Credence and Benighted. The fanbase was expecting a life-changing, boundary-smashing, genre-bending album.

Well Opeth have not delivered that. The content of this album can hardly be described as original; indeed, the two acoustic tracks from the Blackwater Park sessions could be inserted into this without disrupting the flow. Nevertheless, Opeth have always been good at the mellower side of things, and Damnation is no exception.

The album is opened by "Windowpane". This song is mostly bass driven, giving Mikael Akerfelt and Peter Lindgren room to add their subtle acoustic work and excellent solos. Martin Lopez shows a different side to his drumming, being a lot more restrained than before. His incredible ability as a drummer is really brought out on this track, full of complex rhythms and intricate beats.

Special mention has to go to Steven Wilson of Porcupine Tree who put in an excellent performance as session musician and producer. His excellent work with the mellotrons really puts the icing on the cake, making, for example, the chorus to "In My Time Of Need" even more lush and beautiful. He also shines as a backing singer, his voice being the perfect complement to Akerfeldt's.

"To Rid The Disease" lifts the chorus from "Mordet i Grottan" by Akerfeldt's Sorskogen side project. As well as using English lyrics instead of Swedish, the song is given a much more natural feel, the mellotrons once again giving it the edge. An fantastic vocal performance from Akerfeldt and some excellent bass and drum work make this the album's standout track.

The album's only let-down track is the closer "Weakness". Consisting mainly of mellotron, the song features hardly any guitar work. Mikael's vocals have a floaty quality to them, but on the whole, after what has preceded it, "Weakness" is a disappointing way to end the album. It fits in with the flow of the album, but is the only track that does not work on its own.

One of the biggest problems with this album is the length. Although the duration of the songs is less than on previous albums, it still only features eight tracks, one of which is an instrumental. However, this and "Weakness" are the only low points in what is an excellent, albeit short showcase for Opeth's talent outside of metal. I can't wait to see what they do next.

Review by Alex Wilcox - 13/04/2003