I find that album artwork is often overlooked when bands make their albums. But his endeavors with Talk talk were in parts equally thrilling. It’s all there and executed with the precision of their tried, tested and masterful hand. It happens to be my favorite part of the album; it’s very nice. Sorceress flows very well, even during transitions mid-song that could have seemed awkward or forced in past albums such as Heritage. In brief, this really is a frustratingly conservative progressive rock album and nothing more. Thank you, Mark Hollis!
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Strange Brew, the longest song with its may twists and turns, is a major culprit here. There is atmosphere, but no darkness. A lot of people will mark this album as witchcraft and want to burn this album at the stake for sound just too different to their past efforts but Opeth are sorcerese, so far from being sell outs.
Opeth – Official Website | SORCERESS New Album OUT WORLDWIDE!
Still, I reckon my criticisms are pretty small. It manages the soft-hard dynamics much better in this album, being fairly absent from its predecessor, and kept my attention for it’s entire running time an achievement in itself. Best viewed without Internet Explorer, in x resolution or higher. This album never seems to have a dull moment. Oeth put this wholeheartedly down to the fact that it is much easier to make lyrics sounds good when you only have a few moments of clean singing in each song!
The lyrics to “Wilde Flowers” and “Will O the Wisp” are particular high points, with the former characterised by a truly wonderful refrain “I’m not waiting, I’m tired of waiting.
Sorceress is pretty good. RichardDeBenthallOctober 7th, Written based on this version: Later I came to appreciate and love the three preceding albums as much. It might be unfair to judge an album by what it isn’t, but when it captures me only with a few moments here and there regardless of musical expression, there’s something wrong with it.
Tickets are available here: In the past, when he used his clean voice, he came across as a bit subdued, perhaps because he did not yet have confidence, or because he was still learning. Unfortunately after those two seconds the song turns into something completely different to the point that the intro doesn’t really fit the rest of the song at all.
Certainly, Akesson’s suggestion of a “stonery” vibe is present on the title track but “Chrysalis” and “Era” pick up quite an impressive pace, sounding almost NWOBHM inspired at times.
This benefitted songs such as “To Bid You Farewell” and “Credence” enormously; it gave the songs a raw charm and atmosphere.
A shame the song is also burdened with a tonally uninteresting and overly long intro. There’s just nothing raw or real about anything anymore, the beating heart of metal is gone, and we’re left adoring the early works and they are still as good today while Mikael goes his own way, probably gaining a new audience along with the old schoolers who are able to accept this radical change.
The intro and coda the two Persephones are two dinky, unnecessary acoustic pieces. PassiveMetalheadOctober 8th, Written based on this version: Considering the album is bookended by a simple intro and outro, there are nine songs left to grasp our attention and, at times, it slips between desperate fingers.
On its most recent record, Sorceress, Opeth continues its predictable worship of progressive rock of the seventies which began with the weak Heritage half a decade ago and continued with the fairly average by my prog standards Pale Communion two years ago.
Surprisingly you’ll also find that Mikael has at last begun to repeat his ideas like most bands eventually doas an example you might recognize the vocal lines in “Chrysalis” from an earlier Opeth song. Make this happen, Nuclear Blast. Originally written for Black Wind Metal. With the absence of growled vocals since the Watershed album inmany fans have simply become uninterested in their newer releases.
And condolences to his family and friends. The keys of Joakim Svalberg his second album with the band are thunderous and give Opeth their well-deserved rich sound. It was a sudden and unexpected finale to an otherwise great album.
While to me this still won’t beat out classic albums like “Ghost Reveries” or “Blackwater Park,” I can see that Opeth is headed in the right direction. The introduction right before the title track works though. In other words, I was nervous about the coming of sorceress. On a side note, a positive point of this record is its airy production, which genuinely recalls classic progressive rock records of the seventies.
Photos from Opeth’s post