Ghost Reveries | 
 enlarge | Artist: Opeth
Label: Roadrunner Records
Category: Music
List Price: $18.98
Buy Used: $3.79
You Save: $15.19 (80%)
New (49) Used (25) from $3.79
Rating:  219 reviews
Sales Rank: 15092
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 618123
UPC: 016861812324
EAN: 0016861812324
ASIN: B000AADYYO
Release Date: August 30, 2005
Availability: Usually ships in 1-2 business days
Shipping: International shipping available
Condition: Disc has a couple very minor marks. Case is a newer replacement with some minor marks.
| |
| Tracks:
| • | Ghost of Perdition | | • | The Baying of the Hounds | | • | Beneath the Mire | | • | Atonement | | • | Reverie/Harlequin Forest | | • | Hours of Wealth | | • | The Grand Conjuration | | • | Isolation Years |
|
| Similar Items:
|
| Editorial Reviews:
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
Album Description
Japanese pressing. RR. 2005.
|
| Customer Reviews:
 Unique and full of contrast November 20, 2008
B. Miller (Los Angeles, CA)
This is my third Opeth album and my favorite. It seems to offer a more unique but consistent sound across the disk than the two previous I have, while remaining full of the contrasts (singing versus screaming, folk sound versus heavy sound) that goth bands like Opeth offer. You'll listen a lot more times before feeling sated.
For what it's worth, I listen to prog metal, goth, shoegazer, musicals, opera, and some classical music. I highly recommend this CD, although as a first Opeth CD it may leave you less to look forward to in your second. In that case, Blackwater Park is also a good Opeth starter. And I recommend Pretre conducting the opera Carmen. But you were here to see a goth review. :-)
 Hmmm, not too bad July 14, 2008
M. D. Myer (Nebraska USA)
I think what this band is trying to do is bridge the gap between progressive rock, and death metal on this album. At times it sounds like prog rock, at other times death metal.
A fan of prog rock and death metal would probably like this. However if only one of those is your preferred genre, you'll probably hate it.
I myself think they show a lot of talent as musicians, but they aren't legendary. If you want a legendary guitarist, listen to Dream Theater or Symphony X for your prog rockers. For you death metal people, I'd suggest some Deicide.
Uneven yet still remarkable June 18, 2008
Cloud (Canada)
1 out of 1 found this review helpful
It's often been said by fans and critics that even their worst is better than most band's best. However, the band can still be subject to criticism or disappointment but it's usually viewed in context with their own past material than with the music itself. Opeth, a long-respected and praised metal band has never really done an outright terrible record despite the occasional glitch in a song or 2. Ghost Reveries, their 8th and first under the Roadrunner label, is not really their worst as it contains moments of genius and compelling stuff but on the other hand, as one reviewer said, it's too schizophrenic and a bit frequently uneven.
Ghost of Perdition: 7 seconds of peaceful guitar chords before it explodes out of the gate with a heavy (and rather long) guitar riff until a neat section that mind remind someone of Tool stuff. With many riffs, a gorgeous acoustic section, and a bit of decent parts till the reintroduction of the acoustic section, it's quite a great opener in its own right. 9/10
The Baying of the Hounds: Another intriguing and compelling heavy section with the keyboards featured a bit more prominently before the track dips into a quieter part with high piano notes and echoing tones. The middle section afterwards slightly works but I love the outro. Like most tracks, parts get repeated too frequently but overall the track's worth a listen. 8/10
Beneath the Mire: Quick strummed chords and a synth backing at the start and it's one of their better structured ones on the album and seldom bores (even that repeated stattaco riff during the solo that kind of annoys). Short, compels and leaves without overstaying its welcome, this is a good one on the disc. 9/10
Atonement: Well the album was kind of flawless up until this point but this derails any momentum since it's one thing that infrequently is an Opeth song: bland. Middle Eastern influences, organs and a repeated guitar riff make this a very decent listen and one that I frequently skip. 5/10
Reverie/Harlequin Forest: This is another one where it entertains with its massive prog riffs, Akerfeldt's melodic vocals, a cool groove riff 3 minutes in and a gorgeous acoustic riff but the long harmonic section kind of bores, the outro kind of sucks and it meanders a bit (especially that "slithery" part near the end). Good but not really compelling beginning to end either. 7/10
Hours of Wealth: Quite gorgeous track that recalls the Damnation album with some fingerpicked electric notes, almost renaissance-esque instruments in the back, a cool acoustic riff and a gorgeous piano riff mimicing the guitar underneath, soulful Akerfeldt vocals and a Pink Floyd-worthy ending solo. Definately recommend this one. 9.5/10
The Grand Conjuration: Originally I didn't like this one. Eventually I grew to love it with the main riff that shows up repeatedly super catchy, the more darker and ominous verses and effective use of the keyboards during the heavy parts (which save the repetitive outro). It's probably one of my favorite of the heavier tracks off the record. 9/10
Isolation Years: A more quieter and Damnation-like album closer with some blues-y playing, clean arpeggios and some of Akerfeldt's best clean vocals on the record. It's maybe a bit too short and doesn't really have the punch that a closer should have but that's forgivable for how good the track is.
So far I've only heard Still Life straight onto Watershed so I can't really say outright if Ghost Reveries is the weakest of Opeth's 9 albums but of the 6 that I've heard so far, it's good, great and average all in one listen and not as consistent but definately worth checking out if you're into metal.
One of the most diverse Opeth albums March 30, 2008
K. Lichosyt (Chicago, IL)
1 out of 1 found this review helpful
(This was written around the time of the 2005 release)
Ghost Reveries is an amazing album. Those worried about a streamlined Opeth due to their signing by a major label can rest easy. This record defies categorization and is worthy of any album of the year title that may eventually be thrown its way. The superb songwriting, excellent instrumentation and extraordinary creativity is remarkable. For the sake of simplicity, this review will focus on the band members first, followed by a track by track overview as the second half.
Mikael Akerfeldt's singing here is top notch. His clean vocals have improved again, with even more styles and tones used throughout. He does much more clean singing for this album, making the point that Opeth aren't anything close to a straight death metal band anymore, though this has been true for years. When he does growl and shout, he demonstrates outstanding clarity and control despite his rage. Opeth's music just wouldn't be the same without his aggressive side. It makes some parts so powerful that it'll leave you stunned.
Of course, not everyone enjoys this aggressive style of singing. It's well known that Opeth have converted new fans who have had an extreme loathing of it before. Their progressive side makes them much more than "some death metal band with acoustics," as some people are quick to say.
Akerfeld's guitar work, along with fellow axe slinger Peter Lindgren, is top notch. Their riffs, acoustic playing, clean and distorted solos, diversity and general interaction with each other are all impressive. They can manage everything from extreme death grinds to sad acoustic progressions to uplifting lead lines with exciting results. With Ghost Reveries, they've expanded their palette to include some doom metal influence, machine-like rhythms a la Meshuggah, and even some straight up rock and roll.
The drumming of Martin Lopez has reverted back to a more supportive roll this time around, but he still handles a variety of tasks without missing a beat. He's not as "up front" as on the previous album, Deliverance, but his pummeling double bass, complex rolls, tribal beats, and soft reserved navigation of his kit during quiet moments make him a perfect companion to the demanding guitars. It's a shame he's been forced to take a temporary hiatus from touring in order to tend to a health issue.
Martin Mendez still provides solid bass playing for his fifth album with the band. He complements the guitars and drums greatly, moving from speedy, technical sections to slow, calm bass lines as easily as Akerfeldt shifts from chaotic growling to mournful crooning. At this point in the band's career, Mendez fits like a glove.
The big news with Ghost Reveries is the addition of Per Wiberg on keyboards. Opeth have experimented with keys in the past, but a full-time participant lends the band even more depth than before. He's doesn't take the lead such as someone like Jordan Rudess of Dream Theater, but Wiberg's role gives him opportunities for many tasteful contributions. He lends aggressive sections a new level of drama, but he really shines during the quieter moments. Throughout the softer parts of the album, he plays a big part in setting an atmospheric mood that the band couldn't have accomplished without him. Along with the synthesizer sounds, he also integrates the mellotron and acoustic piano in several songs with results that can best be described as magical.
In the lyrics department, Akerfeldt still stick to lines such as "Nocturnally helpless / And weak in the light / Depending on a prayer," meaning that he uses his words as an imagery tool rather than vague poetry up for interpretation. The lyrics are much darker than in the past, but they are employed in an artistic manner to seemingly tell the story of possession, destruction, and escape. There's debate on the internet rather or not this is a concept album, but it appears to be so. It's interesting stuff, so it's worth reading along to the album if you have trouble deciphering what is being said.
The songs themselves are some of the best the band has ever written, but it's hard to describe them in such a short space because of their complexity and length. The opener, "Ghost of Perdition," goes through several phases and is probably one of the best songs the band has ever written. They throw away any conventional verse-chorus-verse structure and constantly build up the song during its many peaks and valleys. This sets the tone for the rest of the album. The band has gotten rid of unnecessary things and kept what works, while incorporating new ideas and Wiberg's keyboard experiments with admirable results.
"The Baying of the Hounds" sounds like something off Deliverance or Blackwater Park. It's full of great riffs and solos, with plenty of quiet yet tense parts in between the occasional outbursts of fury. A fine song, but it's nothing revolutionary for Opeth.
After that track, Ghost Reveries is unlike any other Opeth album. "Beneath the Mire" incorporates some peculiar, almost ancient-Egyptian sounding keyboards over jagged guitars and a bouncy drum beat in the intro before a heavy middle section and a calm outro, which bleeds into the next track, "Atonement."
Here is a song that pushes new ground for the band. Some slow, almost joyful lines, guitar lines backed by lush soundscapes and acoustics, give way to Akerfeldt's effect-laden vocals. It is a unique tune that is a nice, mellow departure you can relax to. After a brief intro into the next track, you are treated to the longest song on the CD.
"Reverie / Harlequin Forest" gets by on excellent riffs and some of Akerfeldt's best vocal melodies on the album. It stays relatively calm most of the time, even though there is a lot of distortion throughout half the song. It doesn't get heavy until the last quarter, ending in an odd rhythmic pattern where the guitars, bass and drums coordinate together like a machine, similar to the end of the song "Deliverance" from albums past.
After that epic, we get "Hours of Wealth." The first half is a build up of clean guitars, piano and synthesizers. Then everything stops and Akerfeldt gives his most expressive singing to date over sparse piano chords, followed by a tranquil blues solo. If you start to tear up, it's best to take a break before moving on. Otherwise, "The Grand Conjuration" will rip you to pieces.
It starts off with an irregular riff before moving into a dramatic sequence of variations on a single theme. It goes into a quiet, evil-sounding interlude before erupting in death growls and a flurry of aggressive rhythm work from nearly every member of the band. The song moves between the two moods for about ten minutes, but there's enough change to keep it interesting. At about the six minute mark, Akerfeldt screams "The grand conjuration" during one of the heaviest moments in Opeth history. It can literally make your head explode.
This song is the basis for the band's first video. Unfortunately, it's creepy, confusing and half as long as the full song. You're better off listening to the album version and making up your own "video" using your imagination.
The final song is "Isolation Years," another subdued song. It deals with the separation of two lovers. It's a simple and beautiful song that is a good way to regain your composure after the mayhem of the preceding track.
There you have it. This quick summary of "Ghost Reveries" does the album no justice. You're better off using the review as a guide, since any progressive fan or metal head should definitely add this to his or her library. It'll hopefully influence some modern bands to evolve their sound somewhat. This was the band's first test as a mass-marketed (relatively speaking) metal group in America, and they pass with flying colors while losing none of their edge.
Opeth are here to stay.
Slightly less than perfect February 17, 2008
Scott Wallace (Noblesville, IN USA)
As always, Opeth present us, the listeners, with an album that is simultaneously brutal at points, and serenely beautiful at others. I've heard other bands do the same, though in truth no artist manages to so perfectly interweave the two forms.
There's very little bad I can say about Ghost Reveries, except that it doesn't quite live up to the phenomenally good Blackwater Park. It is, perhaps, the most melodic of Opeth's releases, and somewhat less heavy than the band has been on recent efforts, yet it's still a fantastically good album. All parts are performed to the highest levels. The clean vocals are beautiful and Akerfeldt is able to convey a range of emotions, and the unclean vocals are similarly effective in giving the music great depth. The rhythm section is impeccable, as usual, contributing to the album's sense of timing, the changes in tempo, and the unusual beats that are common in Opeth's progressive style of metal, and their efforts on this album are incredibly important. The guitar work, as I've come to expect from Opeth, is also top notch. Really a very strong album.
|
|
|
