Track Listing

1. Ghost of Perdition
2. Baying of the Hounds
3. Beneath the Mire
4. Atonement
5. Reverie/Harlequin Forest
6. Hours of Wealth
7. Grand Conjuration
8. Isolation Years

Product Details

• Amazon Sales Rank: #11907 in Music
• Released on: 2005-08-30
• Number of discs: 1
• Dimensions: .22 pounds

Album Description
Japanese pressing. RR. 2005.

Amazon.com
Opeth's Ghost Reveries is a Prog/Death masterstroke, becoming more simplistic in places while expanding the overall template. Having explored their split personalities in great detail on Deliverance and Damnation, Opeth pulls them back together for Ghost Reveries, and in the process they have once again upped the ante on what a Death Metal band can accomplish. While there is a bolder use of instrumentation on this release, the rhythms and time changes have simplified just a bit, giving the songs on Ghost Reveries a more direct impact. Both the harsher and softer aspects have made the band more well-rounded, from the rousing organ in "The Baying of the Hounds," to the use of Middle Eastern polyrhythms in the beautiful "Atonement." But the integration of the two styles does not mean the band has necessarily mellowed. The album opens with mere seconds of tranquility before blasting into the meat of "Ghost Of Perdition," and "The Grand Conjuration" is as dark and powerful as anything they’ve done. Opeth is a band that doesn’t rest on its laurels, and Ghost Reveries is majestic, epic music. In smaller scope, it attempts to do what Dark Side of the Moon and Physical Graffiti did for Pink Floyd and Led Zeppelin. This is a metal album that endeavors to move beyond its specific genre.-- Robert Arambel

Customer Reviews

Well, I win yet another bet with myself
A lot of albums came out this year. I maybe anticipated a few them a bit too much, and was disappointed as a result. Hence, I kept the hype for this album to a minimum. I've found this to be a sound approach, since it prevents catastrophic let-downs and allows for pleasant surprises. I'd have to put Ghost Reveries in the "pleasant surprises" category.

I've been a big fan of Opeth since I discovered them, but even with all the appreciation I have for their sensitive and equally brutal variety of melodic death metal, I wasn't sure what to expect in this new album. The lack of Steve Wilson's presence as well as the decision to sign with Roadrunner (a label known for putting out a lot of mediocre nu metal and "hardcore" music) both had me a little worried. I worried in vain - Opeth are obviously in charge here.

The balance between the songs at first brings to mind Blackwater Park, a fantastic album in its own right, but there's more to this album than Blackwater Park Part Two. Steve Wilson may not be in the producer's chair anymore, but his influence is plain to see: interspersed between the blastbeats and melodramatic classical passages are bits of psychadelia-tinged prog rock ala Porcupine Tree.

Another obvious addition to the music here is the full time keyboardist (who I believe toured with them for Deliverence and Damnation as well.) While there aren't many big keyboard features, it has had a drastic effect on their overall sound. Throughout the entire album you can hear keyboards in the mix, blending perfectly with the texture of the guitars. The way the keyboards often work on this album also brings to mind Dream Theater, and in fact that influence pervails throughout much of this album (but if Dream Theater's technical acrobatics are a turnoff for you, don't worry - Opeth retain a tastefulness Dream Theater has not demonstrated since the Awake days.)

On the opposite end of the spectrum, there's a good deal of restrained minimalism on this album as well. Chunky half-step thrash riffs pop up from time to time (but always topped with a signature Mikael riff to remind us he still eats hack nu metal guitarists for breakfast.) Coincidentally, they bring to mind Sepultura, the band that almost singlehandedly kept Roadrunner alive during the metal drought of the 90's.

There's also quite a few serene and ambient moments on Ghost Reveries, particularely in the last few songs. Overall this has to be the single most schizophrenic Opeth album thus far; it contains many uncharacteristically positive sections of more rock-based guitar playing, as well as a handful of Opeth's most brutal blastbeats. It has moments even more peaceful and soothing than anything on Damnation, but is distinctly Opeth in its overall sound, and of course in the complex song structures.

If I can type this much about it when I have only listened to it twice, imagine what I'll have to say after I've gotten a chance to really digest it. That will take a long time, as do most Opeth albums, but even upon first listen this is still an extremely agreeable listen. If you are an Opeth fan already, buy this NOW as you will not be disappointed. If you aren't familiar with them already but are interested in immaginative alternative metal of the heavier variety, this is almost as good a place to start as Blackwater Park was for me. And if you don't like Opeth OR alt metal, well... you're probably not reading this anyways, right?

P.D.M.
The phrase "progressive death metal" has been used before, but it probably fits Opeth better than any other single band. Opeth are much more than a Metal band, They are a five man orchestra. Even when the music gets heavy it still holds a form of ambience untouched by fellow Death Metal bands. So melodic yet so brutal all in one dose. Opeth are truely pioneers among the metal scene friends!

Ghost Reveries begins with a moment of mellow guitar and tranquil peace, But the moment is soon over as the crushing riff of the instant classic 'Ghost Of Perdition' take the stage. This song alone is worth getting the CD, with several tempo changes and at about 2:34 into the song comes my favorite melodic piece of any Opeth song EVER.

Mikael Åkerfeldt is an amazing vocalist. Looking at him you would easily be decieved as he looks like an every day joe. But beneath that moustache and down that throat lie two of the greatest lungs in the history of Metal. The man has a great Death Metal growl, Which is normally audible. And his 'clean' vocals are to die for, He hits some very hard to achieve notes. This is truely one of the great Metal Vocalists that shall always be remembered and always respected.

Another of my favorite tracks is 'Atonement'. A soft gentle track with mezmerizing guitar and a beat that could put a crying baby to sleep. The reason I like it is because it stands out so well against all the powerful chugging riffs. That and Mikael truely shows talent here, some very charming and almost enchanting vocals.

I have to give credit to bassist Martin Mendez. I am a bassist and this guy plays some excellent B-Lines, Especially on easily the two most popular tracks 'Ghosts of Perdition' and yet another of my own favorites The Grand Conjuration, A track that reeks of "progressive death metal" from the get go with the headbang worthy riffs and inspiring drum blasts. Another thing that makes this a favorite is Mikael's constant changing vox from clean soft harmonous vocals to harsh audible growls.

People I can not stress enough how truely important it is for Metal Fans world wide to hear this album. This band has defined what it is to be a "progressive death metal" band and have set the bar for fellow bands. Also I just seen these guys play live at Gigantour in Detroit. Simply.. Amazing I would advise you all to do whatever you must to get to see these guys live!

Mikael Åkerfeldt and Devin Townsend are the only Metal Vocalists I would gladly knell and bow my head to if they were before me. Support the scene and buy this great album, and please click YES if you took the time to read my review. If nothing else it kept your intrest for a couple moments.

-A Loyal Opeth Fan

Rock on, you crazy Swedes
The opening track starts with eight slow plucks at clean guitar strings, instantly providing the faithful Opeth fan echoes of their last masterful creation, 2003's spellbinding "Damnation". Then, at the song's eighth second, the Swedes unleash their trademark attack upon the senses: thunderous guitars and singer/songwriter Mikael Ǻkerfeldt's otherworldly growls. Any illusions that Opeth have softened are dispelled in the ten minutes that follow.

From here, "Ghost of Perdition" revisits several melodic themes that Opeth have explored before, all revering the quintet's vigorous energy. The opening riffs, bludgeoning and powerful, are reminiscent of "The Leper Affinity" (off "Blackwater Park"). The softer middle section, with acoustic guitars layering Ǻkerfeldt's harmonizing sounds like "The Moor"'s similar section (off "Still Life"). Finally, when the intensity returns, the double-bass drum melodies and unconventional guitars echo "By the Pain I See in Others" (off "Deliverance).

"The Grand Conjuration", the album's first "single" has everyone talking. It is what "A Fair Judgment" would have sounded like if it were to have been possessed by the devil. The main riff is memorable, but unfortunately overused for a 10-minute song. Opeth's musical ADD, which is what has made the band such metal icons, was discarded in the songwriting process for this heavy piece, which I think jeopardizes the song's lasting power (however, I might be alone in this ruling).

The song is also sandwiched in between two gems, the all-acoustic and hyper-melancholic "Hours of Wealth" and "Isolation Years". The first of which begins with guitars that would make Days of the New's Travis Meeks envious, followed by an urban, piano-driven section, whose tormenting vocals may remind us of "To Bid You Farewell" (off "Morningrise"). The song is perfect for the desperate man in a closing tavern with such lines as "Looking through my window, seem to recognize all the people passing by - but I'm alone and far from home - nobody knows me". For a band known for its darkness and intensity, Opeth shine in tranquil splendor.

Despite all the similarities, the album is hardly a clone. Unlike many metal bands today, Opeth commands the genre in which they play and are far from using a tired formula. "The Baying of the Hounds", a faster, less intense track, illustrates Opeth's newest innovation: integrating keyboards into heavier pieces. Although Ǻkerfeldt (under Stephen Wilson's wing) used pianos and mellotrons in their last two albums, they weren't integrated into heavier songs and were found sparingly and experimentally. In "Ghost Reveries", new fifth member Per Wiberg adds a flute-like sound to "Ghost of Perdition", a funky twang to "The Baying of the Hounds", a middle-eastern melody to "Beneath the Mire" and a melancholic ambience to "Isolation Years".

Although this album wasn't produced by Porcupine Tree songwriter Stephen Wilson (as Opeth's past three albums have been), you can still feel the British prog-rocker's influence in the mix. The vocal arrangements at the sixth minute of "Ghost of Perdition" sound shockingly similar to PT's "Shallow" (off "Deadwing). "Atonement" hast the repetitive, psychedelic atmosphere that Wilson and company craft with every album, and the soothing, bluesy guitar solo at the end of "Hours of Wealth" is identical to Ǻkerfeldt's solo in PT's "Arriving Somewhere But Not Here" (also off "Deadwing").

The album is not perfect (as no Opeth album is), with such erratic and scatterbrained pieces as "Reverie / Harlequin Forest " and some weak points in "Beneath the Mire". Maybe I'm the one at fault - maybe I haven't yet captured the technical brilliance involved. But the album more than makes up for these faults. Opeth have proven themselves to possess metal's Hand of Midas. Having done no wrong in their 8-album, 11-year career, they follow this pattern of excellence with "Ghost Reveries". Hail, hail.

See also: Opeth - "Damnation", " Blackwater Park", "Deliverance"