“When we both walk the shadows/ It will set ablaze and vanish/ Black rose immortal” Opeth, Black Rose Immortal.
With engaging hooks, a myriad of textures, and plenty of brutal passages, Morningrise, the second album by Sweden metal gods, Opeth stands as monument to progressive metal. Released around 1996-97, this is the middle album of the so-called Candlelight Years. While you will find heavier songs on Blackwater Park and more accessible songs on Damnation and Watershed, Morningrise stands out as a complete work; one which dives deep into the catalogs of progressive metal. None of the songs are under 10 minutes, taking the listener on a 66-minute odyssey. With a foundation in death metal forged on their debut, Orchid, Opeth expands into prog territory as they mix acoustic guitar passages and elements of jazz with heavy guitars and singer Mikael Akerfeldt’s signature growl.
The album begins with “Advent”, which is also performed on 2010’s In Live Concert at the Royal Albert Hall. The track gets off to a galloping start before settling into a heavy groove, highlighted by guitar harmonics and punchy bass lines. Weaving back and forth from driving guitars to ethereal acoustic passages, “Advent” eventually returns to earlier death metal themes.
“The Night And The Silent Water” begins with doom-style distortion guitars, laced with acoustic flourishes. Akerfeldt’s pained voice strains against scratchy guitars before collapsing against delicate acoustic harmonics. The band explores the subtly soft textures and sounds and then disappears completely. From the ashes of this momentary pause, Opeth awakens; tension builds and explodes into a wall of sound, stabbing time changes, and deathly vocals before transitioning into the hypnotic “Nectar.”
Just as on “The Night…” the guitars sound dirty and rough on the 10-minute “Nectar.” Their abrasiveness gives way to polished acoustic guitars, much in the same way as Akerfeldt’s throaty bellow contrasts with his cleaner side. As these competing styles wrestle, they take pieces of each other until the lines between sections blur into obscurity. Opeth successfully manages to build layers sound and texture without overburdening the listener.
The preceding 30 minutes leads up to one of my favorite of all Opeth songs. Spanning 20 minutes and every genre metal has dared touch, “Black Rose Immortal,” (which is also an awesome title on its own) is the pinnacle of Opeth’s perfection on Morningrise. True metal hooks, clear bass riffs (seriously, you can actually hear the bass, instead of it be relegated to messy depths of the mix), and intense vocals make this a standout metal song. The starts and stops at first feel like a new song until you recognize a theme from three sections ago. And while some long, twisting songs (a theme itself in prog rock) can struggle to hold your attention, Black Rose Immortal, not only keeps you listening but rewards your commitment with the final track, “To Bid You Farewell.”
Credited as the first Opeth song devoid of death metal growls, “To Bid You Farewell” is a beautiful ending to Morningrise; acting as the bookend and antithesis to the opening “Advent,” you’re greeted with acoustic melodies reminiscent of Spanish ballads. Akerfeldt’s voice is hollow and distant, contrasting with the silky (and clean) electric guitars. Snare drum clicks and delicate ride cymbals keep time, acting as your tour guide on this eclectic trip.
It’s one of those albums that you don’t want to end. And when it’s all over, if you still have the strength, you’ll turn back to track 1 and start the journey all over again. So, what are you listening to?
Where will the journey take us? Tune in next week!
