(NCS writer BadWolf reviews the controversial new album from Opeth.)
The mark of a good album is that I cannot stop listening to it, the mark of a great album is that it makes me think, and Heritage is spinning my gears the way Opeth first did six years ago. When I first heard Ghost Reveries, it opened up my eyes to the possibilities of metal to be artful, emotional. Heritage is opening my eyes to the possibilities of abandoning metal (and genre, period) entirely. This is in many ways a massive departure, but a necessary one.
But first let’s talk about that adjective “progressive.” Opeth are prog, but not progressive; after all, how can Mikael Åkerfeldt progress when he’s effectively re-written 1999’s Still Life album 4 times in a decade to varying results? For ten years Opeth has only explored Chiarascuro (admittedly, an amazing concept). They have already mastered the juxtaposition between light and dark in a metal context to the point where they’re being imitated constantly (with almost no success). Heritage needed to happen—Opeth needed to expand their palate or commit to rereleasing lesser permutations of Blackwater Park forever. Here’s a very NCS metaphor: the sex was getting boring. (more after the jump . . .) Continue reading »