1682 - OPETH §3 2024

The song "§3" is part of *The Last Will and Testament*, the fourteenth studio album by the Swedish progressive metal band Opeth. This record marks the return of death metal growls and is a concept album set in the aftermath of World War I. "§3" features lyrics dedicated to revealing family secrets, set against somber, conspiratorial chords that heighten uncertainty across the board; this builds into a chilling, vibrating crescendo—fueled by the distortions and tunings of Progressive Death Metal and shifting time signatures—that shapes the atmosphere of a story unfolding in a state of confusion and ambiguity.

1111 - Opeth Reverie-Harlequin Forest 2005

Opeth evolved into one of the most distinct sounding bands in metal music. One of the most daring bands death metal has ever seen, the Swedish band, led by guitarist/singer Mikael Åkerfeldt, shattered the rigid constraints of the genre, most notably with their highly acclaimed 2001 album Blackwater Park. By combining the progressive side of death metal with a more midtempo, melodic, almost folk-based sounds. "Harlequin Forest" is the fifth track of their masterpiece "Ghost Reveries". It has a small intro, called "Reverie", consisting on the repetition of some guitar lines. Followed by a drum fill and Mikael singing “Into the trees...”. This beginning sounds great, it's like we really are beginning a journey into a mysterious forest. This section ends with an absolutely gorgeous breakdown, very jazzy and relaxing.

737 - Opeth Harvest 2001

Opeth is a Swedish heavy metal band formed in 1990 in Stockholm. While firmly rooted in Scandinavian death metal, Opeth incorporates progressive metal, progressive rock, folk, and jazz into their usually lengthy songs. Many compositions contain acoustic guitars and strong dynamic shifts, as well as growling and clean vocals. After the release of "Still Life" in 1998, Opeth went into the studio to record the latest step in their musical evolution, "Blakwater Park", "Harvest" is a nearly all-acoustic song here, with no metal sections.

503 - Opeth When 1998

"My Arms, Your Hearse" marks a large stylistic change from their previous release, Morningrise, especially production-wise. All of the songs are shorter than ten minutes, in stark contrast to their prior albums on which most songs exceed this. "When" is one of the most complete songs they've ever done.

271 - Opeth The Drapery Falls 2001

"Blackwater Park" is the astounding fifth effort from Swedish metal titans Opeth. A work of breathtaking creative breadth, "Blackwater Park" (named after an obscure German progressive rock outfit from the 1970s) keeps with Opeth's tradition by transcending the limits of death/black metal and repeatedly shattering the foundations of conventional songwriting. Åkerfeldt's vocals run the gamut from bowel-churning grunts to melodies of chilling beauty, depending on each movement section's mood. "The Drapery Falls" opens with a short acoustic intro before more of Opeth's soaring guitar riffs kick in. The melody is great, and the structure makes the song an incredible ride, constantly shifting from quiet acoustic bits to explosive rock outs.

140 - Opeth The Grand Conjuration 2005

Brought together in Stockholm by guitarists Peter Lindgren and Mikael Åkerfeldt in 1990, Opeth added progressive influences and acoustic instrumentation to their brand of Swedish death metal. As the group progressed, it was very common for an Opeth live set to fly in several different musical directions, and an average song lasted no less than ten minutes.
"Ghost Reveries" is a tour de force of creativity, power, and innovation. Alternately melodic and brutal, the album takes the band's progressive acumen to a new level while never abandoning the crunch. "The Grand Conjuration" is the albums centerpiece, the song that really sees the new Opeth hit their stride. Opening with complex guitar riffs and keyboard textures, the band then blasts back and forth between a haunting and evil dark tone to a raging death metal statement, and it really works here. Akerfeldt's death vocals are venemous on this piece, and the rhythm team of Lopez and bassist Martin Mendez work overtime to create layers of intricate grooves.