OPETH RELEASE PREVIOUSLY LOST VIDEO FOR ‘WINDOWPANE’

VINYL REISSUE OF ‘DAMNATION’ OUT ON 15TH DECEMBER (MUSIC FOR NATIONS)

To mark the 20th anniversary of Opeth’s ground-breaking 2003 album ‘Damnation’, a special vinyl re-issue was recently announced, which has been meticulously crafted to pay homage to a pivotal and trailblazing moment in the band’s illustrious history. Originally recorded in the serenity of Åkerfelt’s native Sweden, with additional production from Porcupine Tree’s Steven Wilson, the album acclaimed by fans and critics alike has since received a re-mix and master in 2015, pressed to vinyl on a double LP together with the dichotomous ‘Deliverance’.

Now just a month away from its release, Music For Nations have re-discovered the long lost video for the single ‘Windowpane’. Originally released in 2003, the Fredrik Odefjärd directed video has been digitally processed from the archival tape for 2023.

Watch the video now:

Released on 15th December (Music For Nations) this marks the first time exclusive and deluxe vinyl pressings have been given to ‘Damnation’. A record that represents a paradigm shift in the band’s approach to composition, seeing them side-line their metal roots from the forefront of their arsenal. Instead replacing it with an additional insight into ambience, atmospherics, and progressive rock, this together with Åkerfeldt’s signature lyricality and musicianship creates a unique record of ethereal beauty and longing, and one which remains top of mind for many Opeth fans.

The 20th Anniversary versions sees the 2015 re-mix and remaster pressed to standard black vinyl, as well as being available on deluxe and limited colour finishes, and for the very first time available on an exclusive picture disc that highlights and reflects the album’s ethereal and bleak visual world.

Pre-order now: https://opeth.lnk.to/Damnation20

Speaking on the release, the band’s lead vocalist Mikael Åkerfeldt comments,

“Hello folks! Our old “partners in crime” Music For Nations are planning a 20th-anniversary re-release of one of our odd records, this time ”Damnation”. We want our records available on vinyl at all times, and it turns out we can’t keep stock! Our vinyl editions are flying out. I’ve seen it with my own eyes when I helped out in a record shop during the pandemic. Some customers didn’t know they’re buying it from one of the people responsible for the music. Of course I went: ”Good record, good band!”. So before there’s any moaning about ”another reissue, another cash grab” I want to stress out that it really comes down to public demand. We’ll present Steven Wilson’s updated mix (first available in 2015 or thereabouts) on limited edition opaque and transparent vinyl as well as on a picture disc, which I believe is the first time ever.

 ”Damnation” is a special record, even if they’re all special to me. I remember hearing the first mix on headphones in a crummy hotel somewhere in the UK. I had trouble believing it was us, myself, Peter, Lopez, Mendez (as well as ol’ Steve on keys). It was completely different from anything we’d done up to that point, and quite frankly, since. Out of all of our records, I think this one is most suitable for the vinyl format due to the fact that it is not really cluttered with stuff. A pretty airy recording with 5 musicians and done on 2 inch tapes as well. It’s a record I’m immensely proud over and it also remains a fan-favourite I believe.

Commenting further Steven Wilson adds “At the time I remember getting death threats from metal fans for “ruining” the band!  As if it could be anyone’s intention but Mikael’s to do a record like that anyway.  Damnation was when everyone understood that he was not going be trapped within the confines of any genre or label, and that the band’s importance and influence would be far reaching.  Rightly so Damnation is now seen as a timeless masterpiece, and I’m very proud to have had my part in making it.”

TRACKLISTING

Side A

1 – Windowpane

2 – In My Time Of Need

3 – Death Whispered A Lullaby

Side B

1 – Closure

2 – Hope Leaves

3 – To Rid The Disease

4 – Ending Credits

5 – Weakness

Opeth – Damnation;

Mikael Åkerfeldt – vocals and lead guitar

Peter Lindgren – rhythm guitar

Martin Méndez – bass guitar

Martin Lopez – drums

OPETH TO REISSUE ‘DAMNATION’ ON VINYL FOR 20TH ANNIVERSARY

RELEASED 15th DECEMBER (MUSIC FOR NATIONS)

To mark the 20th anniversary of Opeth’s ground-breaking 2003 album ‘Damnation’, a special vinyl re-issue has been meticulously crafted to pay homage to a pivotal and trailblazing moment in the band’s illustrious history. Originally recorded in the serenity of Åkerfelt’s native Sweden, with additional production from Porcupine Tree’s Steven Wilson, the album acclaimed by fans and critics alike has since received a re-mix and master in 2015, pressed to vinyl on a double LP together with the dichotomous ‘Deliverance’.

Released on 15th December (Music For Nations) this marks the first time exclusive and deluxe vinyl pressings have been given to ‘Damnation’. A record that represents a paradigm shift in the band’s approach to composition, seeing them side-line their metal roots from the forefront of their arsenal. Instead replacing it with an additional insight into ambience, atmospherics, and progressive rock, this together with Åkerfeldt’s signature lyricality and musicianship creates a unique record of ethereal beauty and longing, and one which remains top of mind for many Opeth fans.

The 20th Anniversary versions sees the 2015 re-mix and remaster pressed to standard black vinyl, as well as being available on deluxe and limited colour finishes, and for the very first time available on an exclusive picture disc that highlights and reflects the album’s ethereal and bleak visual world.

Pre-order now:

Damnation20 (lnk.to)

Speaking on the release, the band’s lead vocalist Mikael Åkerfeldt comments,

“Hello folks! Our old “partners in crime” Music For Nations are planning a 20th-anniversary re-release of one of our odd records, this time ”Damnation”. We want our records available on vinyl at all times, and it turns out we can’t keep stock! Our vinyl editions are flying out. I’ve seen it with my own eyes when I helped out in a record shop during the pandemic. Some customers didn’t know they’re buying it from one of the people responsible for the music. Of course I went: ”Good record, good band!”. So before there’s any moaning about ”another reissue, another cash grab” I want to stress out that it really comes down to public demand. We’ll present Steven Wilson’s updated mix (first available in 2015 or thereabouts) on limited edition opaque and transparent vinyl as well as on a picture disc, which I believe is the first time ever.

 ”Damnation” is a special record, even if they’re all special to me. I remember hearing the first mix on headphones in a crummy hotel somewhere in the UK. I had trouble believing it was us, myself, Peter, Lopez, Mendez (as well as ol’ Steve on keys). It was completely different from anything we’d done up to that point, and quite frankly, since. Out of all of our records, I think this one is most suitable for the vinyl format due to the fact that it is not really cluttered with stuff. A pretty airy recording with 5 musicians and done on 2 inch tapes as well. It’s a record I’m immensely proud over and it also remains a fan-favourite I believe.

Commenting further Steven Wilson adds “At the time I remember getting death threats from metal fans for “ruining” the band!  As if it could be anyone’s intention but Mikael’s to do a record like that anyway.  Damnation was when everyone understood that he was not going be trapped within the confines of any genre or label, and that the band’s importance and influence would be far reaching.  Rightly so Damnation is now seen as a timeless masterpiece, and I’m very proud to have had my part in making it.”

TRACKLISTING

Side A

1 – Windowpane

2 – In My Time Of Need

3 – Death Whispered A Lullaby

Side B

1 – Closure

2 – Hope Leaves

3 – To Rid The Disease

4 – Ending Credits

5 – Weakness

Opeth – Damnation;

Mikael Åkerfeldt – vocals and lead guitar

Peter Lindgren – rhythm guitar

Martin Méndez – bass guitar

Martin Lopez – drums

OPETH DEBUTS NEW VIDEO FOR “ERA” AHEAD OF THEIR UPCOMING U.S SPRING TOUR

Sweden’s musical alchemists, OPETH have debuted a new video for their song “Era” today. The video’s track is featured on the band’s critically praised, 12th studio album, Sorceress, which is available now via Nuclear Blast Entertainment.

The video for “Era” comes just ahead of the band’s return to the U.S for headline spring tour with support from Gojira and Devin Townsend Project. The tour will also include a special one-off show in Philadelphia on May 6th with Mastodon, Gojira, Eagles of Death Metal, Devin Townsend Project and Russian Circles.

Watch the video here:

The beautiful shot, cinematic video was directed by Markus Hofko (www.bowbowbow.co) and features stunning visuals that perfectly sync with the band’s dynamic music.

“I have to say our involvement in the making of the ”Era” video was so minimal we can’t take credit either for or against its brilliance. We did 3D scans of our bodies (clothed) in Munich during the last European tour. I remember everyone’s extremely tired and probably slightly hungover. The director just placed us in a ice-cold room and then scanned us with something that looked like a flashing hairdryer. Done! We’ve done our part for the video. Next! During the process of finishing the piece it got clear to me that it really works with the song. That’s something I was involved in actually, picking the song. It’s extremely difficult. Which song to choose? How do I know what works best for this format? Well, I don’t. I picked a song from the record that has a strong chorus. Slightly old school way of thinking I guess, but ultimately it didn’t matter all that much to me. The video is nice. I dig it. It’s slightly on the pretentious side, but hey, works for me! And like I said, it really works with the overall vibe of the song. Lyrically and musically and definitely emotionally.” – Mikael Akerfeldt

Order “Sorceress” now:
The record will be available in an array of formats and editions including CD, 2CD Digipak, 2LP Vinyl (in various colours at 180 gram) from the Nuclear Blast Store: http://nblast.de/OpethSorceressNB and Recordstore.co.uk (orders come with signed inserts – whilst stocks last): http://nblast.de/OpethSorceressRS

Order ‘Sorceress’ digitally: http://nblast.de/OpethSorceressIT

OPETH Tour Dates:
May 4 – Nashville, TN – Nashville War Memorial (w/Gojira)
May 5 – Charlotte, NC – Carolina Rebellion Festival
May 6 – Philadelphia, PA – Electric Factory Outdoors (w/Mastodon, Gojira, Eagles of Death Metal, Devin Townsend Project, Russian Circles)
May 7 – Sayreville, NJ – Starland Ballroom (w/Gojira, Devin Townsend Project)
May 9 – Chicago, IL – The Vic Theatre (w/Gojira, Devin Townsend Project)
May 11 – Morrison, CO – Red Rocks Amphitheatre (w/Gojira, Devin Townsend Project)
May 12 – Kansas City, MO – Arvest Bank Theatre at the Midland (w/Gojira, Devin Townsend Project)
May 13 – Indianapolis, IN – Egyptian Room at Old National Centre (w/Gojira, Devin Townsend Project)
May 14 – Somerset, WI – Northern Invasion Festival
yd2

 

Progradar Best Of 2016 – Shawn Dudley’s Top 10

Let’s face it, 2016 has not been the best year in human history, but it has been an exceptionally good year for music.  Seemingly every week something new would capture my imagination and become indispensible.  Due to the magnitude of choices putting together a year-end list became a daunting exercise.

What follows is not necessarily a traditional “top 10”, it’s a condensed selection of albums that made the most impact on me throughout the year.

Katatonia – The Fall Of Hearts

The Fall of Hearts was the easiest selection for this list; its place has been secure for months.  Nobody was more surprised than me as I had previously been ambivalent about Katatonia but this gorgeous, immaculately crafted album completely won me over. It’s a subtle, layered album that bears repeated listening, something I did almost daily for several months. The Fall of Hearts is their most mature and fully realized work to date, a rare instance of a band in their second decade who continue to evolve and improve their already unique sound.
Favorite tracks:  Takeover, Last Song Before The Fade, Shifts

Opeth -Sorceress

While the various factions of Opeth fans of different eras clash online, fruitlessly fighting for supremacy…Mikael Akerfeldt continues to laugh and do whatever the hell he wants. Sorceress continues Opeth’s exploration of vintage instrumentation that began with the controversial Heritage in 2011 and the more straight-forward and polished Pale Communion in 2014.  Sorceress goes against expectations by going for a rawer, heavier and more experimental approach.  It’s a stylistically diverse collection of songs with gorgeous folk rockers, heavy Prog epics and 70s inspired jams co-existing harmoniously.

Favorite tracks:  A Fleeting Glance, The Wilde Flowers, The Ward (bonus track)

Messenger – Threnodies

This sadly under-appreciated gem was easily one of the most enjoyable albums I heard all year. Messenger had the ability to work within the sonic framework of classic Prog, the instrumentation and vibe, yet not become a slave to it. Threnodies may offer up flashes of the past via inspiration; Wishbone Ash, Pink Floyd, Black Sabbath, CSN&Y; yet it sounds simultaneously modern and wholly relevant in 2016. Sadly the band has prematurely called it a day, but despite that I wouldn’t want you to miss out on hearing what they’ve left behind.
Favorite tracks:  Oracles Of War, Balearic Blue, Celestial Spheres

Seven Impale – Contrapasso

This thoroughly and wonderfully insane sextet from Norway was my favorite discovery of the year. Contrapasso is the type of album it’s best to just experience because describing it accurately is an exercise in futility. You’ll find elements of King Crimson, jazz-fusion, early 70s heavy metal and a love of the absurd, but that still just gives you a vague impression. The mixture of wonderfully heavy guitar and bass riffs, improvisational saxophone excursions and entertainingly theatrical vocals I find completely addictive.
Favorite tracks: Languor, Heresy, Inertia

Gong – Rejoice! I’m Dead!

Guitarist/Vocalist Kavus Torabi makes the first of two appearances on my year-end list. On Rejoice! I’m Dead! he effortlessly carries on the eclectic and joyful Gong; simultaneously a love letter to the recently departed founder Daevid Allen and a thoroughly rewarding work on its own merits.  It’s a wonderful collection of brief, quirky rockers and stretched-out fusion jam bliss. I love the sound of this album so much; I can’t help smiling whenever I play it. Who says Prog can’t be fun?
Favorite tracks: Rejoice!, The Unspeakable Stands Revealed, Kapital 

Knifeworld – Bottled Out Of Eden

Our second Kavus Torabi appearance is another blast of experimentally playful fun. Knifeworld sets the tone immediately with the thoroughly addictive High Aflame, an artfully arranged pop confection that is the perfect album opener. The horn section allows them to employ voicings that you don’t often here in progressive rock circles, not that this album really fits into the general guidelines of that term. In fact I’m not sure Knifeworld exists within the guidelines of anything but their own imagination.  I applaud them.

Oranssi Pazuzu – Värähtelijä

And now for something truly and beautifully frightening. This Finnish quintet has crafted an avant-garde treasure, a mixture of Space Rock, Jazz and caustic Black Metal that is supremely thrilling. The arrangements are incredibly dense, building layer upon layer of guitars, synths and scorched earth vocals that threaten to become atonal cacophony, but deftly remain right on the edge. It’s challenging, intense music, but also contains much beauty. If you’re feeling brave, I highly recommend it.
Favorite tracks:  Lahja, Havuluu, Vasemann Kaden Hierarkla

 

Haken – Affinity

I will admit that the technical end of Prog Metal is not my preferred style. I’ve never been inspired by the Dream Theater end of the spectrum, I can admire the craft, but it doesn’t generally speak to me. Haken is one of the few exceptions, a band whose audacious personality and jaw dropping musicianship manage to always remain entertaining. This is assisted by a welcome amount of dry humor that has a tendency to display itself on occasion. Affinity is their most complex and intricately constructed album yet, maybe not quite as accessible as The Mountain but just as artistically successful. The playfulness shows itself on the epic ‘1985’, a song built entirely on the instrumental sounds of the 80s that never devolves into parody and instead becomes poignant. Haken also continue to outgrow the limitations of Prog Metal, methodically expanding their musical vocabulary into new, unexpected areas. Affinity continues their winning streak of rewarding albums; I look forward to hearing where they go next.
Favorite tracks:  The Architect, Red Giant, 1985

Purson – Desire’s Magic Theatre

D.M.T. is Rosalie Cunningham’s love letter to the late 60s psychedelic and early progressive rock scene and the substances that often inspired them. What keeps it from becoming just a curio is the conviction she brings to her songs and how skillfully she applies the vintage instrumental sounds to create the required effect. The influences are plentiful; Hendrix, The Doors, Jethro Tull, Jefferson Airplane, King Crimson, Curved Air; but Rosalie has taken that inspiration and applied it to her own organic and highly enjoyable compositions.  It’s a fun album that is worth investigating, with or without the accompanying substances.

Favorite tracks:  Electric Landlady, Pedigree Chums, The Bitter Suite

Khemmis – Hunted 

In addition to Progressive Rock and Jazz I’ve also been a Heavy Metal fan for over 30 years. I don’t listen to straight-ahead metal very often these days but occasionally I’ll hear something that reawakens that old love of chugging, galloping riffs and thunderous drums. Khemmis is a young band from Denver whose latest album Hunted kicked my ass right and proper. Their sound is a tasty mix of doomy Candlemass/Trouble riffs, dual harmony lead guitars and NWOBHM inspired attitude. Satisfyingly crushing yet consistently melodic and inspired, these guys nail all the metallic requirements with their muscular performances and above-average songwriting.  My neck hurts…
Favorite songs:  Above The Water, Candlelight, Hunted

 

 

 

 

 

OPETH DEBUT “THE WILDE FLOWERS”

opeth-the-wilde-flowers

Sweden’s musical alchemists, OPETH, have premiered a new song entitled, “The Wilde Flowers”. The track is featured on the bands highly anticipated 12th studio album, Sorceress, which is scheduled for release on September 30th via the band’s imprint label Moderbolaget Records with Nuclear Blast Entertainment.

Stream “The Wilde Flowers” now at www.opeth.com

Speaking with Metal Hammer, vocalist Mikael Åkerfeldt says “This was the first song I wrote for this album. It’s kind of an OPETH standard, in a way, like from the last two albums. It’s very dynamic. It has a chorus, I guess. Then there’s a big Queen-sounding bit in the middle just before this massive solo… oh, and harps! They’re hidden in the mix but they’re there. The title comes from the band Caravan – they were originally called Wilde Flowers. I always liked those weird spellings.”

In addition to the psychedelic, progressive masterpiece “The Wilde Flowers,” OPETH’s monumental new record also features the critically heralded new songs “Will O The Wisp” and “Sorceress.” Fans who pre-order the album will receive an instant download of “The Wilde Flowers,” “Will O The Wisp” and “Sorceress.” Links to pre-orders can be found below:

Nuclear Blast Store: http://nblast.de/OpethSorceressNB
Recordstore (inc signed insert): http://nblast.de/OpethSorceressRS
iTunes: http://nblast.de/OpethSorceressIT
Apple Music: http://nblast.de/OpethSorceressAM
Google Play: http://nblast.de/OpethSorceressGP

Catch up on the previous episodes here:
Mikael leads you through the Rockfield Studios
Mikael speaks about the guitar recordings
Axe speaks about the drum recordings
Martin speaks about the bass recordings
Mikael speaks about the songwriting
Fredrik speaks about the guitar recordings
Mikael talks about the lyrical concept
Joakim Svalberg talks about the keyboard recordings

OPETH will return to the UK for a headline show at Wembley Arena on Saturday 19th November.  Tickets are on sale now from www.livenation.co.uk.

Full tour dates as follows:
05.11.  S         Stockholm – Annexet
06.11.  N         Oslo – Konserthus
07.11.  DK       Copenhagen – DR Koncerthuset, Koncertsalen
08.11.  D         Hamburg – Docks
10.11.  A          Vienna – Arena
11.11.  D         Stuttgart – LKA Longhorn
12.11.  D         Munich – Theaterfabrik
13.11.  CH       Zurich – Volkshaus
14.11.  I           Milan – Alcatraz
16.11.  D         Cologne – E-Werk
17.11.  B          Brussels – AB
18.11.  NL        Tilburg – 013
19.11.  UK       London – SSE Arena Wembley
21.11.  F          Paris – Le Trianon
23.11.  LUX      Luxemburg – Den Atelier
24.11.  D         Berlin – Astra Kulturhaus

OPETH North American Tour:
24.09.  USA      San Bernardino, CA – Ozzfest
29.09.  USA     Pittsburgh, PA – Stage AE
30.09.  USA     Silver Spring, MD – The Fillmore
01.10.  USA     New York, NY – Radio City Music Hall
02.10.  USA     Boston, MA – House Of Blues
04.10.  CDN     Montreal, QC – Metropolis
05.10.  CDN     Toronto, ON – Massey Hall
07.10.  USA     Detroit, MI – The Fillmore
08.10.  USA     Akron, OH – Good Year Theater @ East End
09.10.  USA     Chicago, IL – Riviera Theater
10.10.  USA     Minneapolis, MN – First Avenue
12.10.  USA     Oklahoma City, OK – Diamond Ballroom
13.10.  USA     Houston, TX – Warehouse Live
14.10.  USA     Austin, TX – Emo‘s
15.10.  USA     Dallas, TX – Gas Monkey Live!
18.10.  USA     Las Vegas, NV – Brooklyn Bowl
19.10.  USA     Tempe, AZ – The Marquee
21.10.  USA     Sacramento, CA – Ace Of Spades
22.10.  USA     San Francisco, CA – The Warfield
24.10.  USA     Portland, OR – Roseland Theater
25.10.  USA     Seattle, WA – The Moore
26.10.  CDN     Vancouver, BC – Orpheum

MORE INFO:

Sorceress cover

OPETH RELEASE EIGHTH STUDIO BLOG VIDEO FOR ‘SORCERESS’

Sorceress cover

Swedish experimental heavy-rock pioneers OPETH have released the eighth instalment, “Studio Report – Episode 8,” of their in-depth, behind the scenes series on the making of their 12th studio album, ‘Sorceress’. In this new trailer, keyboardist Joakim Svalberg talks about the recordings for ‘Sorceress’ and his love for vintage instruments. The highly-anticipated record is out on September 30th via the band’s imprint labelModerbolaget Records with Nuclear Blast Entertainment.

Catch up on the previous episodes here:
Mikael leads you through the Rockfield Studios
Mikael speaks about the guitar recordings
Axe speaks about the drum recordings
Martin speaks about the bass recordings
Mikael speaks about the songwriting
Fredrik speaks about the guitar recordings
Mikael talks about the lyrical concept

OPETH also released a lyric video to ‘Will O The Wisp‘ last week. Listen to the melancholic, Jethro-Tull-like single now:

The record will be available in an array of formats and editions including CD, 2CD Digipak, 2LP Vinyl (in various colours at 180 gram) from the Nuclear Blast Store: http://nblast.de/OpethSorceressNB and Recordstore.co.uk (orders come with signed inserts – whilst stocks last): http://nblast.de/OpethSorceressRS

Pre-order ‘Sorceress‘ digitally and receive both “Will O the Wisp” and the band’s previously released title track, “Sorceress”: http://nblast.de/OpethSorceressIT

OPETH will return to the UK for a headline show at Wembley Arena on Saturday 19th November.  Tickets are on sale now from www.livenation.co.uk.

Full tour dates as follows:
05.11.  S         Stockholm – Annexet
06.11.  N         Oslo – Konserthus
07.11.  DK       Copenhagen – DR Koncerthuset, Koncertsalen
08.11.  D         Hamburg – Docks
10.11.  A          Vienna – Arena
11.11.  D         Stuttgart – LKA Longhorn
12.11.  D         Munich – Theaterfabrik
13.11.  CH       Zurich – Volkshaus
14.11.  I           Milan – Alcatraz
16.11.  D         Cologne – E-Werk
17.11.  B          Brussels – AB
18.11.  NL        Tilburg – 013
19.11.  UK       London – SSE Arena Wembley
21.11.  F          Paris – Le Trianon
23.11.  LUX      Luxemburg – Den Atelier
24.11.  D         Berlin – Astra Kulturhaus

OPETH North American Tour:
24.09.  USA      San Bernardino, CA – Ozzfest
29.09.  USA     Pittsburgh, PA – Stage AE
30.09.  USA     Silver Spring, MD – The Fillmore
01.10.  USA     New York, NY – Radio City Music Hall
02.10.  USA     Boston, MA – House Of Blues
04.10.  CDN     Montreal, QC – Metropolis
05.10.  CDN     Toronto, ON – Massey Hall
07.10.  USA     Detroit, MI – The Fillmore
08.10.  USA     Akron, OH – Good Year Theater @ East End
09.10.  USA     Chicago, IL – Riviera Theater
10.10.  USA     Minneapolis, MN – First Avenue
12.10.  USA     Oklahoma City, OK – Diamond Ballroom
13.10.  USA     Houston, TX – Warehouse Live
14.10.  USA     Austin, TX – Emo‘s
15.10.  USA     Dallas, TX – Gas Monkey Live!
18.10.  USA     Las Vegas, NV – Brooklyn Bowl
19.10.  USA     Tempe, AZ – The Marquee
21.10.  USA     Sacramento, CA – Ace Of Spades
22.10.  USA     San Francisco, CA – The Warfield
24.10.  USA     Portland, OR – Roseland Theater
25.10.  USA     Seattle, WA – The Moore
26.10.  CDN     Vancouver, BC – Orpheum

MORE INFO:

OPETH RELEASE 5TH STUDIO BLOG FOR ‘SORCERESS’

Swedish experimental heavy-rock pioneers OPETH have released the fifth instalment, “Studio Report – Episode 5,” of their in-depth, behind the scenes series on the making of their 12th studio album, ‘Sorceress‘. In this new trailer, frontman Mikael Akerfeldt talks about the vocal recordings in the legendary Rockfield Studiosand the writing process for his lyrics. The highly-anticipated record is due out on September 30th via the band’s imprint label Moderbolaget Records with Nuclear Blast Entertainment.

Catch up on the previous episodes:
Mikael leads you through the Rockfield Studios: https://www.youtube.com/watch?v=Olffy8UPwbo
Mikael
speaks about the guitar recordings: https://www.youtube.com/watch?v=NG-oDDNmWC8
Axe
speaks about the drum recordings: https://www.youtube.com/watch?v=X2lV8N7AiBY
Martin
speaks about the bass recordings: https://www.youtube.com/watch?v=Et2mbByRt6s

Opeth recently released a lyric video for the record’s title track “Sorceress“, which has has already received mass critical praise from fans and critics alike. Watch the video here:

‘Sorceress’ track list:
1. Persephone
2. Sorceress
3. The Wilde Flowers
4. Will O The Wisp
5. Chrysalis
6. Sorceress 2
7. The Seventh Sojourn
8. Strange Brew
9. A Fleeting Glance
10. Era
11. Persephone (Slight Return)

Sorceress cover

Pre-order ‘Sorceress’:
Nuclear Blast Store: http://nblast.de/OpethSorceressNB
Recordstore.co.uk (orders come with signed inserts – whilst stocks last): http://nblast.de/OpethSorceressRS

Pre-order ‘Sorceress’ Digitally:
iTunes: http://nblast.de/OpethSorceressIT

MORE INFO:

 

OPETH RELEASE 2ND STUDIO BLOG FOR ‘SORCERESS’; NEW ALBUM OUT SEP 30TH

Swedish experimental heavy-rock pioneers OPETH have released the second instalment, “Studio Report – Episode 2,” of their in-depth, behind the scenes series on the making of their 12th studio album, ‘Sorceress’. The highly-anticipated record is due out on September 30th via the band’s imprint label Moderbolaget Records with Nuclear Blast Entertainment.

Opeth recently released a lyric video for the record’s title track “Sorceress“, which has has already received mass critical praise from fans and critics alike.

Additionally, OPETH, with their label, have launched a variety of pre-orders for physical copies of  ‘Sorceress”. The record will be available in an array of formats and editions including Standard Jewel CD, 2CD Digipak, 2LP Vinyl (in various colors at 180 gram) and a Deluxe Edition Wooden Box Set.

Pre-order ‘Sorceress’:
Nuclear Blast Store: http://nblast.de/OpethSorceressNB
Recordstore.co.uk: http://nblast.de/OpethSorceressRS

Pre-order ‘Sorceress’ Digitally:
iTunes: http://nblast.de/OpethSorceressIT

OPETH will return to the UK for a headline show at Wembley Arena on Saturday 19th November.  Tickets are on sale now from www.livenation.co.uk.

Full tour dates as follows:
05.11.  S         Stockholm – Annexet
06.11.  N         Oslo – Konserthus
07.11.  DK       Copenhagen – DR Koncerthuset, Koncertsalen
08.11.  D         Hamburg – Docks
10.11.  A          Vienna – Arena
11.11.  D         Stuttgart – LKA Longhorn
12.11.  D         Munich – Theaterfabrik
13.11.  CH       Zurich – Volkshaus
14.11.  I           Milan – Alcatraz
16.11.  D         Cologne – E-Werk
17.11.  B          Brussels – AB
18.11.  NL        Tilburg – 013
19.11.  UK       London – SSE Arena Wembley
21.11.  F          Paris – Le Trianon
23.11.  LUX      Luxemburg – Den Atelier
24.11.  D         Berlin – Astra Kulturhaus

Or catch the band on the following festivals, before they embark on a US headline tour together with THE SWORD:

30.07.  FIN       Oulu – Qstock Festival
05.08.  P          Corroios – Vagos Open Air Festival
19.08.  B          Hasselt – Pukkelpop Festival
24.09.  USA      San Bernardino, CA – Ozzfest

w/ THE SWORD
29.09.  USA     Pittsburgh, PA – Stage AE
30.09.  USA     Silver Spring, MD – The Fillmore
01.10.  USA     New York, NY – Radio City Music Hall
02.10.  USA     Boston, MA – House Of Blues
04.10.  CDN     Montreal, QC – Metropolis
05.10.  CDN     Toronto, ON – Massey Hall
07.10.  USA     Detroit, MI – The Fillmore
08.10.  USA     Akron, OH – Good Year Theater @ East End
09.10.  USA     Chicago, IL – Riviera Theater
10.10.  USA     Minneapolis, MN – First Avenue
12.10.  USA     Oklahoma City, OK – Diamond Ballroom
13.10.  USA     Houston, TX – Warehouse Live
14.10.  USA     Austin, TX – Emo‘s
15.10.  USA     Dallas, TX – Gas Monkey Live!
18.10.  USA     Las Vegas, NV – Brooklyn Bowl
19.10.  USA     Tempe, AZ – The Marquee
21.10.  USA     Sacramento, CA – Ace Of Spades
22.10.  USA     San Francisco, CA – The Warfield
24.10.  USA     Portland, OR – Roseland Theater
25.10.  USA     Seattle, WA – The Moore
26.10.  CDN     Vancouver, BC – Orpheum

Opeth release lyric video for title track to ‘Sorceress’ – article by Progradar

This is the official title track from Swedish progressive legends OPETH’s twelfth studio album, SORCERESS, out September 30, 2016 via Moderbolaget Records / Nuclear Blast Entertainment.

2016 marks the monumental return of one of heavy rock’s most unique, revered and fearless bands of the last three decades, Opeth. Over the years, the experimental, prog veterans have continuously reinvented themselves, pushing the boundaries of their craft and expectations of fans and critics alike.

OPETH’s new album, ‘Sorceress’, their first for Nuclear Blast via the band’s imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album’s opener Persephone to The Wilde Flowers and Strange Brew to the album’s counterpart title tracks Sorceress and Sorceress II, OPETH’s twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colors mute as if weathered by time, and sounds challenge profoundly.

Sorceress cover

Sorceress Track List:
1. Persephone
2. Sorceress
3. The Wilde Flowers
4. Will O The Wisp
5. Chrysalis
6. Sorceress 2
7. The Seventh Sojourn
8. Strange Brew
9. A Fleeting Glance
10. Era
11. Persephone (Slight Return)

”The new album “Sorceress” is our 12th studio album since our beginnings in 1990,” says Åkerfeldt. “I find it difficult to understand that we’ve been going on for 26 years, let alone that we’ve made 12 records now, all of which I am very proud of. ”Sorceress” is no exception. I love this album, as does the whole band. I wrote the music during 5-6 months and we spent only 12 days recording it at Rockfield studios in Wales. I find that once again we’ve taken a step forward. Or sideways, Or backwards. Somewhere!? It’s different! It’s extremely diverse. And if I may say so myself, extremely good.

I feel the right to say that since I like to think I know this band better than anyone on the planet. Also, I always manage to detach myself from the record and listen as a fan. It’s a fine little record. My favorite in our discography right now. Of course. That’s how it should be, right? It’s both fresh and old, both progressive and rehashed. Heavy and calm. Just the way we like it. Hopefully there’ll be others around the globe sharing this opinion. It was a joy to make it. A fucking joy to record it, and a sheer joy listening to it. So there you have it!”

For Sorceress, OPETH returned to Rockfield Studios in Wales, also home to pivotal releases from Queen, Rush and Judas Priest, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The band spent 12 days recording at the countryside venue among its serene and inspiring surroundings. The result is nothing short of a powerful and intriguing record that will add yet another layer to the band’s celebrated career.

ORDER ALBUM AT
Nuclear Blast (Worldwide): http://nuclearblast.com/opeth-sorceress
OPETH Store (US): http://www.jsrdirect.com/bands/opeth
OPETH Store (Euro): http://store.moderbolagetrecords.com
iTunes: http://nblast.de/OpethSorceressIT
Amazon Music: http://nblast.de/OpethSorceressAMZMP3
Google Play: http://nblast.de/OpethSorceressGP

Opeth band

BE PROG, MY FRIEND! 2016 part 2 (t-shirt wars) – by Kevin Thompson

KF_Amorphis_PosterA1.eps

Day two arose to bright sunshine and we ate an ample breakfast in the hotel before a morning in the wonderful Museum of Art, with so many treasures to see. But enough of that, I am not here to talk about the wonderful historic sites in Barcelona, the colonnades  lining the street to the museum, waterfalls and twin towers replicating the style of San Marco Campanile in Venice. Nor am I about to tell you of the excellent Spanish guitarist delighting a crowd in front of the museum, on his ‘silent guitar’. No, we shall leap forward to our much needed early afternoon siesta from which we woke abruptly, making haste to reach  the Pobel Espanyol and the beckoning sounds of day 2, at Be Prog My Friend.

Unfortunately the second day started an hour earlier and we joined the queue of latecomers as we fed into the square just in time to catch the last three songs from the ravishing Anneke Van Giersbergen and The Gentle Storm. This lady’s voice as those who have heard her will know, is a tour de force and her powerful vocals tore through the tracks with gusto engaging with the slowly swelling crowd in some grand Prog Metal. Her energy was infectious and warmed the audience up nicely as did the mid afternoon sun and we watched from floor level partaking of much needed liquid refreshment.

Anneke

Buoyant from the night before and with a rousing first act to start the day we were feeling rather pleasant and whilst we waited for the next band we wandered round and checked out the t-shirts. No contest as I have to say the lovely Sarah Ewing’s artwork conquered all comers. I thought I had done well in the t-shirt battle yesterday but Big Big Train’s ‘Grimspound’ drew so many admiring glances it felt like being on a catwalk.

Grimspound

We briefly met the gang from yesterday for a chat, but they wanted to go down the front and we decided we would hang back and find a seat somewhere with a decent view, if we were lucky.

And so to the second band, whilst I had only heard a couple of tracks from Between the Buried and Me which sounded promising. They appeared to be attracting favourable attention from the media recently and I was looking forward to being impressed as they had travelled over from the US of A. I’m still waiting I’m afraid. The sound wasn’t brilliant, louder than clearer and Konnie and I agreed it was like listening to an extended promo reel, with clips from songs cobbled together.

Konnie said she was unable to decipher when one track ended and another began as it sounded so disjointed. Despite an enthusiastic following nearer the stage and you may read differently elsewhere, we didn’t seem to be the only ones and for me the guttural vocals only added to my disappointment, sorry guys I’m sure there are many disagree with us including those at the front, but here’s a photo.

Between

I was a child of the 70’s it was the blossoming of my teenage musical years and the awakening of my eyes and ears to Prog. Now I’m sure many will agree, some records are timeless and transgress all era’s without ageing badly and some you raved about then, you find hard to reconcile why in the present day. I would not have bought the next band’s albums then and wouldn’t now as I will happily tell you, ‘it’s not my sort of thing’. So on an increasingly hot and sunny, Spanish afternoon surrounded by a sizeable crowd of MAGMA t-shirts, what happened?

Like a rabbit in headlights or with myxomatosis, I stood rooted to the spot as MAGMA took the stage. They seemed quite the perfectionists and had taken some time to set up which may have explained why they couldn’t play as long as they wished, but as they strode on to the stage and the music and chanting of the first song began I was transported to Summerisle. I was transfixed as if drugged and the tune grew like some creeping, Dario Argento film soundtrack as it swelled most disturbingly. I forced myself to look away from the stage and those around me seemed entranced and swayed to the the throbbing rhythms. I’m glad there was still daylight to bring me comfort.

Magma

As the music continued the young man in his twenties standing in front of us took up the song. A cherub faced middle aged man, with rosy cheeks and glasses, clad in walking gear with a backpack, wandered through the ranks of the audience singing the lyrics in a deep resonating tone, an angelic smile spread across his face, arms wide in subjugation. Had I stepped into a pagan festival? Konnie stood on my left enraptured and I glanced to my right and the terrace above. A boy of no more than twelve stood in front of his father, chanting in the knowledge of every word, his small hands air drumming without missing a beat.

And then they finished , disgruntled they could not extend their set, with a shorter tune (over 10 minutes) and the veil lifted from everyone’s eyes. Konnie talked enthusiastically and I tried to figure out what had just happened. Would I buy the music, no. Would I travel and pay to watch them, I don’t think so. Would I be able to resist the lure of their unique performance if they were on a festival bill again, probably not and they have a new disciple in Konnie. Strangely watchable, if you have never seen them and happen upon them, watch, you may be enchanted but rest in the knowing you don’t have to weave flowers in your hair and there are no human sacrifices required during the performance.

Opeth 1

It’s worth mentioning at this stage that the transitions between bands was not as smooth as the previous day. Whether the crew were different or more likely the bands on the second day were more demanding, either way the wheels were not as well oiled. This gave us more time for food and liquid sustenance and to soak up the atmosphere. A couple of large tattooed Scandinavian  bikers asked we take their photos and they kindly reciprocated snapping the ‘Grimspound’ shots of Konnie and I. They also gave some of their stone step space so we could sit for a while which was most welcome until we found seating a little further back with a better view.

Opeth 2

It was time for the main acts of the day, first came Opeth. I am a late convert and up until now only have ‘Pale Communion’ and still feel some of their older material may not be to my liking. But I have since ordered a couple of older CD’s to try and Lamentations DVD on the strength of their performance and what a show. The sun descended as the atmosphere grew, Michael Akerfeldt and the band striding the stage as giants of the prog metal genre, rousing the crowd who need little encouragement. With acknowledgement to the long faithful that the newer material has not always received favour, they pulled old favourites from their earlier albums to rapturous applause and drove them like giant machines crushing any doubters under the sound, loud and clear with the lighting matching the moods. It is well known Michael and Steven Wilson have become firm friends and you can catch elements of influence in the work, enhancing the massive production here.

Opeth 3

Revelation of the day was Konnie’s response, she has never taken interest in Opeth before and had neglected to listen on the occasions I have played ‘Pale Communion’, fearing they weren’t to her liking. By the end of the first song she was hooked, loving every minute, extolling the virtues of their live performance and on completion she was grinning like a kid at Christmas. Had they been the only head-liner, the day would have finished on a tremendous high. As it was, we were to be spoiled further…..

Opeth 4

We knew what to expect from Steven Wilson as we have seen him on his last three tours, but this did not lessen our excitement, merely settled us in the privy we bestowed upon our Spanish friends, eager to watch a man who verges on deity status in the genre and learn all they can about him. Mr Wilson has developed and perfected his style with such precision he holds all in his sway and has carefully honed his stage craft since we first saw him. Again I feel his friendship with Michael has influenced and benefited him especially in performing as he seems more at ease talking to and joking (yes, joking), with the crowd. His live sets are always louder these days, the tracks played are heavier and rockier than the album versions. We always pack our ear defenders, but that could be our age, yet he balances the delicate, ‘Lazarus/Routine’ finely, gently sprinkled like fairy dust on the sounds emanating from his current band.

Steven 1

All masters in their own fields, with none finer on the drums than Craig Blundell, as readily recognised by the work he has done as an international clinician for Paiste, Premier, and RolandAdam Holzman is a rare keyboardist, having moved from the jazz fusion field to his current position in the band, he consistently earns critical acclaim as one of the most daring and best contemporary keyboardists alive.

No one could have predicted back in the Kajagoogoo days that Nick  Beggs would go on to be such a luminary in Bass guitar and Chapman Stick, his mighty presence up front ably bookending Steve with current guitarist Dave Kilminster. Having spent the last few years as principal guitar player in the Roger Waters band, Dave brings his own, skillful style to the well renowned tracks and my only regret is that they didn’t play Drive Home, as I would like to have heard his take on the beautiful guitar solo.

steven 2

It’s a commanding show and a fitting end to a wonderful couple of days though the fuzzier lighting employed for the majority of the set prevented my getting many photos.

But not quite an end: it was by now 02:00, weariness took hold and with an early start the next morning we elected to leave with the majority and head for our hotel. Which leaves me to apologise to metalcore band Textures, who bravely came on after we left and played to a greatly reduced crowd, so I cannot comment on their performance.

It only remains to say ‘Gracias’ to the organisers of BPMF, everyone who helped make it possible the bands themselves and the Spanish people we met along the way. Watch for next year’s line up, take the leap, make the trip and revel in what Barcelona and Be Prog My Friend have to offer, you won’t be disappointed.

Adios, hasta pronto………