Opeth - Damnation

2003 Album Award

Opeth fans have know right from the start that this is no ordinary metal band. The band’s interest in progressive music has been well documented since their debut album, Orchid, hit the shelves in 1995. A stark and wildly original work, Opeth managed to successfully fuse a myriad of different musical styles into one coherent whole. Amazingly the band has somehow continued to improve with each subsequent release. The production, instrumental ability and overall flow of the songwriting seems to get better and better over time.

Damnation, the band's seventh all-original studio release, was recorded during the same sessions as 2002’s Deliverance. Deliverance (the heavy album), and Damnation (the light album), were originally scheduled to be released at the same time, but that didn’t happen. However, just knowing both of these albums were recorded at the same time makes you appreciate each disc even more. Some might disagree, but I’m actually glad that these were released separately, seeing as how it often takes me many listens to fully absorb every new Opeth album. Doesn’t it feel like Deliverance was just released anyway?

The elements that make up Damnation have always been in Opeth’s music, so I would venture to say that none of the material here comes off as a radical departure from what I would have expected. Take the lightest moments from their other albums and add small amounts of keyboards, Mellotrons, and background strings and you have a pretty good idea of this album's overall effect. That being said, this is the first time Opeth have completely embraced their “light” side for an entire album. Producer Steve Wilson, the band’s sixth member of sorts, once again works absolute wonders with the band’s sound. Take the beautiful “In My Time of Need,” which sees vocalist/guitarist Mikael Akerfeldt taking full advantage of Steve’s trademark layered vocal production. Mikael’s vocal harmonies on “Death Whispered a Lullaby” are nothing less than amazing. And oddly enough during parts of this album his vocals reminded me of Jerry Cantrell during Alice in Chains’ Unplugged set. Fragile and despaired, yet full of hope. “Death Whispered a Lullaby” also features some cool electronic noise washes, which adds great effect to the song's dramatic ending. Fantastic, trance-inducing guitar solos like the ones in “To Rid the Disease” and “Windowpane” flow like water through the songs, much like the solo did in “A Fair Judgement” from Deliverance.

Fans of Opeth’s other work will no doubt embrace this album with open arms. Damnation could conceivably bring the band a whole new audience of listeners who were turned off due to Mikael’s previous death growls. This album is great for the time when you want to listen to Opeth, but you don’t want the intensity of their other work. I encourage everyone reading this to somehow acquire this album, go home, get comfortable, and let the beautiful sounds of Opeth engulf you.