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Old 10-04-2012, 05:03 PM   #11561
ctfod
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Isolation Years, man. Still think it's one of the best ones they've ever done, that's what Heritage should have been like.
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Old 10-04-2012, 05:27 PM   #11562
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Quote:
Originally Posted by BenRaah
The first three off Ghost Reveries are alongside their best for me. Shame the album goes downhill a bit after that.

I quite like Reverie/Harlequin Forest.

Also, Isolation years is the perfect ending to the album. Definitely one of Opeth's best songs.
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Old 10-04-2012, 06:30 PM   #11563
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Originally Posted by Jon777
I quite like Reverie/Harlequin Forest.

Also, Isolation years is the perfect ending to the album. Definitely one of Opeth's best songs.


One of their best songs from any album.. maybe even their masterpiece song. It embodies everything an Opeth song should be.
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Old 10-04-2012, 08:42 PM   #11564
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Originally Posted by ctfod
Isolation Years, man. Still think it's one of the best ones they've ever done, that's what Heritage should have been like.

This.
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Originally Posted by guitgrinder
One of their best songs from any album.. maybe even their masterpiece song. It embodies everything an Opeth song should be.

This as well.

Mainly cause Mike stripped it down and didnt just ruin the songwriting by meandering about. Ending Credits is similarly good for basically the same reasons.

And Atonement, TGC, and a big chunk of Harlequin Forest [especially the end] are all awful.
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Old 10-04-2012, 09:18 PM   #11565
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As much as I like Opeth I skip more then a few songs...

Watershed wasn't my cup of tea though I really likes Porcelain Heart and I preordered that one. I picked up Heritage and it's ok. I understand his reasons for the album but it doesn't do much for me.

The Funeral Portrait, Forest of October, Black Rose Immortal and Ghost of Perdition don't get skipped, just to name a few.

I remember something Mikael (I always forget how to spell his name?) said once. I think it was either an interview of on the DVD of Watershed. He said something like, "some people make bad albums, but that's something I never have to worry about.".

I guess if you are your only judge then that's true.
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Old 10-04-2012, 09:56 PM   #11566
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While I'm not the biggest fan of Watershed, I reeeeally like Hessian Peel. Admittedly it's not coherent in the slightest, but I feel the sections are good enough for me to forgive Mike for a really oddly structured song.
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Old 10-04-2012, 10:17 PM   #11567
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Originally Posted by Jon777
While I'm not the biggest fan of Watershed, I reeeeally like Hessian Peel. Admittedly it's not coherent in the slightest, but I feel the sections are good enough for me to forgive Mike for a really oddly structured song.

No, they arent.

I WOULD love that song. If it weren't for the fact that it's TWO SONGS SPLICED TOGETHER, that are completely and utterly unrelated.

So yeah, I maintain despite some cogent sections that are brilliant, Watershed sucks massively.

And Heritage is goddamn terrible.
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Old 10-05-2012, 03:23 AM   #11568
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^ Heritage is indeed terrible. Couldn't even stand one listen through it. It's as if... Mikael is trying to be bad.

I bumped BRI today - still hold it to be one of the finest cut&paste pieces of all time. It shouldn't make sense a song, because it's not really a song but rather a collection of tunes in the same key, but it's still one of the best damn songs. That last scream...

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Miss your posts in these parts Darkstar, your comments are always a pleasure to read, even if I disagree.



Hey bud, good to see you around again. I haven't really been coming to UG much, and the Pit just sucks ass these days. I'm getting back into listening to more music and I'll come back to the metal forum again - it's always been some of the best community here.
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Porcelain Heart is worse IMO.

You mean TGC part 2?

I'd say they tie for shittiest Opeth songs.
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Old 10-05-2012, 09:41 AM   #11569
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Why the hate for Porcelain Heart?

It's about the only thing I can listen to off of Watershed. I always love the acoustic playing he does.


As for Heritage, I still haven't been able to make it through the album. I had not been following music all that closely for the last few years and picked it up without much prior knowledge...
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Old 10-05-2012, 09:51 AM   #11570
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Porcelain Heart comes off like Grand Conjuration 2: Electric Boogaloo to me. However, I still have a soft spot for Watershed, despite its shortcomings.
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Originally Posted by duncang
maybe it's because i secrely agree that tracedin inymballsackistheb best album ever


he's got the fire and the fury,
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well you don't have to worry,
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Old 10-05-2012, 10:45 AM   #11571
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I've been complaining about PH since day one, that song is so fucking bad man. Watershed boils down to one or two good songs and a bunch of mediocre shit stapled together. Still haven't listened to Heritage. Just can't be bothered right now with all this good music to catch up on.

Quote:
Originally Posted by darkstar2466
I bumped BRI today - still hold it to be one of the finest cut&paste pieces of all time. It shouldn't make sense a song, because it's not really a song but rather a collection of tunes in the same key, but it's still one of the best damn songs. That last scream...


I should hate BRI. Every inch of me should be screaming out against the 'transitions' in that song, but it is just too damn enjoyable. I could sit and complain about it all day, but listening to it I can't. It's so incredibly stupid, but I love it.
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cuz ppl hate how power metal they are cuz they think its "gay" or w.e, which is immature and dirogitory
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Old 10-05-2012, 11:02 AM   #11572
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Old 10-05-2012, 01:07 PM   #11573
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I'm still failing to see why so much hate for Porcelain Heart? Is it the guitar work? The lyrics? The combination?

I like the darker electric riff and love the acoustic parts.

I'm just curious as to what it is about the song you guys don't like?

As for TGC I guess I don't see what's so bad about that one either?
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Old 10-05-2012, 01:54 PM   #11574
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Look beyond the aesthetics or the surface that is the guitar work or vocals or lyrics. The songwriting is just a goddamn trainwreck. None of it really makes sense slapped together as it is, with literally no transitions to speak of and/or simply awful transitions.

Atmospherically it's fine. Guitar work is fine. Individually, the sections are fine [if a bit inoffensive* or cliche at times]. The ideas and songwriting just make literally no sense constructed as they are. In essence, Mike just couldn't write a good song to save his life**. This, as a matter of fact is the problem with [almost] all Opeth.

*here this means it doesnt really stand out or do anything beyond what's expected of it, it's standard, etc. That is how I often use this term.
**This applies mostly to everything he's done, but especially to GR, Watershed, and the awful Heritage. But the songwriting problems are present on basically every album, even the ones where the songwriting actually is mostly good (MAYH and Still Life, BWP to an extent, mainly due to Bleak and Drapery).
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Old 10-05-2012, 02:34 PM   #11575
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Originally Posted by Burning_Angel
Look beyond the aesthetics or the surface that is the guitar work or vocals or lyrics. The songwriting is just a goddamn trainwreck. None of it really makes sense slapped together as it is, with literally no transitions to speak of and/or simply awful transitions.

Atmospherically it's fine. Guitar work is fine. Individually, the sections are fine [if a bit inoffensive* or cliche at times]. The ideas and songwriting just make literally no sense constructed as they are. In essence, Mike just couldn't write a good song to save his life**. This, as a matter of fact is the problem with [almost] all Opeth.

*here this means it doesnt really stand out or do anything beyond what's expected of it, it's standard, etc. That is how I often use this term.
**This applies mostly to everything he's done, but especially to GR, Watershed, and the awful Heritage. But the songwriting problems are present on basically every album, even the ones where the songwriting actually is mostly good (MAYH and Still Life, BWP to an extent, mainly due to Bleak and Drapery).

Ok, I got ya.

But that seems to go for lots of Opeth songs, even the good ones. I guess it's just to the degree with which one has a limits for
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Old 10-05-2012, 03:15 PM   #11576
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Exactly why many on this forum, after listening too much to Opeth, realized the pervasive flaws.

If you care as much about songwriting (I'm not gonna go all pretentious beyond that) as many here do/have started to, Opeth becomes nigh unlistenable.
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Old 10-05-2012, 03:38 PM   #11577
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One thing that perturbs me to no end is that Mike thought the transition at ~2:30 of heavy riff to acoustic bit was fine with a spastic full set fill from Axe.

I mean, what? I'm re-listening to this to try and pinpoint all of the problems, and holy shit. That fade-in lead after the solo vocal track makes me want to shove an ice pick in my forehead, not to mention the sudden break from the big build-up to a solo clean guitar.

Ugh.
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cuz ppl hate how power metal they are cuz they think its "gay" or w.e, which is immature and dirogitory
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Old 10-05-2012, 04:26 PM   #11578
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Alright, so we are all on the same page. I was always told that was there "charm" if you will.
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Old 10-05-2012, 06:50 PM   #11579
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My perspective on the "awkward transitions" is this:

better to have unexpected transitions that don't make sense 100% of the time, rather than have totally predictable, generic, run-of-the-mill transitions to every riff in every song.
You know those songs that you hear and 30 seconds in your thinkin' "I know how this one goes, I don't even need to listen to the rest of this."

Opeth is like, the exact opposite of that.
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Old 10-05-2012, 07:01 PM   #11580
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Originally Posted by guitgrinder
My perspective on the "awkward transitions" is this:

better to have unexpected transitions that don't make sense 100% of the time, rather than have totally predictable, generic, run-of-the-mill transitions to every riff in every song.
You know those songs that you hear and 30 seconds in your thinkin' "I know how this one goes, I don't even need to listen to the rest of this."

Opeth is like, the exact opposite of that.


So having nonsense transitions well over half of the time is okay? There are ways to play with subtleties (drum dynamics, passing notes, etc) and have unexpected transitions without just piling everything together like a riff mish mash.

I would prefer solidly constructed music over the nightmare that is Opeth 2005 onward. It's just grating to people that understand (or pretend to, i.e. me) how song flow and structure should work, when they miss perfectly awesome transitions to go and play in an acoustic daisy patch for the next eleven minutes.
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cuz ppl hate how power metal they are cuz they think its "gay" or w.e, which is immature and dirogitory
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