Review Summary: Opeth continue down the prog rock path, this time traveling in their own shoes.
Ok, so let's get this out of the way right now. There is no death metal present in this album. No blast beats, no iconic growling, and no blistering guitar solos meant to make you flay your own skin off ( not because of its speed, mind you, but because of its pure evil). Nope, for all the hopefuls wishing for a return to form, you should all pack it in now. If you're looking for the Opeth of yesteryear, look elsewhere. Relisten to Still Life, instead.
I feel you, I really do. I would love nothing more than to hear Akerfeldt rip into my throat though my headphones once again. I was heartbroken when Heritage sounded, to me at least, like a cheap imitation of 70s prog rock. Don't get me wrong, there were some catchy riffs in there, but I didn't feel any cohesion at all. It felt cheap, like Happy Meal toy cheap. A consolation prize , if you will. When I heard the first single from the new album, I was afraid it was going to be more of the same, too. But here's the thing. This album legitimately sounds like Opeth.
The album is pure prog rock again, but it's Opeth's own creepy incarnation of prog rock. This is a dark, modern take on how the genre needs to look and feel. There are touches of Opeth's immortal sinisterness in just about every song. Each riff builds into one another, pushing you further and further towards the edge of your seat. A couple of tracks, namely Moon above, Sun below sound like songs taken directly from the besides of their previous discography. The synthetic touches come and go as they would in a classic horror film, but they do so in a tasteful, eerily precise way (most of the time). It's clear that Yes has been an influence throughout the band's career, but it has never been so evident as on Pale Communion.
The album starts very prog heavy, with synths running wild throughout the long intro, mellowing out, then swelling once again into Akerfeldt silky smooth voice reassurance that Eternal Rains Will Come. The keys fade behind a very short solo, and we're taken away into the flow. The heaviness comes not in torrential downpours of riffs but in gusts of groovy drum driven jams. From the start, the president is set clearly. This is a new Opeth, an authentic Opeth.
Cusp of Eternity, easily the catchiest song on the album, comes back to Opeth's darker side. The galloping guitars carry the verse onward with a malicious intent, ending back in the synth laden bridge that could have made its home in Blackwater Park with ease. The solo snakes it's way through the ride bell and double bass heavy groove, bearing the familiar fangs of an Opeth solo. Then it's back to the keys, the vocalized chants before fading into my favorite song on the album...
As I said above, Moon Above , Sun Below is a misplaced song from Ghost Reveries, and no one will be able to convince be otherwise. The bass is heavy in the ibtro, rumbling just below the surface throughout the majority of the song. This song has everything: grandiose structure, a couple of wistful refrains, Reveries era keyboard tones, airy guitar passages, and the sullen depravity in Akerfeldt's vocals. This is probably my favorite track on the album, and at 10 minutes, it's never for a second overbearing in its Opethian progginess.
Haunting acoustic guitar and mournful lyrics begin Elysian Woes. A gentle bass line precedes an equally ghostly clean solo before a bass driven swell brings the final verse, where the singer insists he doesn't want to bear his scars.
The instrumental track Goblin starts promising enough, however it runs out its welcome about a third of the way through its length. It's clear that this is the indulgence track of the album, and it's best to skip it if you're not interested in technical wankery for the sake of technical wankery.
With the bouncy guitar and sing song vocals, River will be as close to a folk song on this album, but let me tell you, it's right there. The restrained electric guitar through the first pary of the song only further sell this song down the...sorry, couldn't do it. About half way through the song though, an electric organ comes and further scoots this song into Iron and Wine territory. I'm not saying this as a bad thing. I personally enjoy the *** out of sone Iron and Wine, I'm just making sure you get the point. After a minute or so of synth, the River bends (couldn't stop that one) into much more sinister waters. Here showcases some of the heaviest guitar tone and drum work, but just a taste...
Voice of Treason starts with an ominous synth, a quick drum fill, and then, out if nowhere, we're swimming tits deep in the most sinister grooves this side of The Grand Conjugation. An Arabic tinged lick accompanies a swelling keys and guitar duet that pulls us above the surface before we get pulled under by the currents of the main riff again. Man, what's with all the water metaphors today? Anyway, the bridge brings a double bass heartbeat that promises a refrain from the dark journey. Distant keys and a mournful voice reminds us that we aren't listening to Mumford an Sons, begging the question, "Have you given up?" over a very Yes inspired keyboard line before fading into the album closer Faith in Others. The promises stated earlier were all lies.
Ending on a somber note, the track begins with a string and keys refrain, very subdued and filled with remorseful lamentations. A couple of minutes into the song, a western guitar builds on the depressing words, leaving the bitter taste of loss in your mouth. As the album slowly closes with a wishful moan and sigh from the strings, you're left with to mourn your thoughts.
Pale Communion shows us a different Opeth than anything we've seen before. Sure, Heritage was prog as well, but it felt rushed, unauthentic, and because of that, like a betrayal. This time around, the band is doing prog the way that they want to do it, and let me be the first to say, Opethian prog is a prog I can get into. Sure, I'd love nothing more than to getting ripped limb from limb by the Opeth 16 year old me fell in love with, but here's the thing. Of all the tech death albums that have beaten me to death with my own limbs this year, none of them made me feel that deep dread for the safety of my life like Pale Communion has. This album won't be for everyone, that's a given. Hell, it's probably not for a number of Opeth fans. However, if you take into consideration the trajectory that Opeth have been on for the majority of their career, you'll realize it was only a matter of time before they arrived at this destination.
Either embrace it or don't. I don't think they'll be turning their boat around anytime soon (oh yeah, ending on a high note.)...
