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[Review] Opeth’s Sorceress is Good But Nothing New

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Swedish metal band Opeth certainly have changed over the past several albums. Originally starting as a progressive death metal group, they’ve since dropped the death metal aspect and have since turned into a more prog rock/heavy metal group, trading distortion for fuzz and adding a lot more keys. Perhaps the last time we really got a full taste of their roots was the 2008 album Watershed, an album that was met with critical acclaim and has since become a fan favorite. Since then, we’ve gotten Heritage and Pale Communion, both albums that embrace the more 70’s styled prog rock of bands such as Camel, Brand X, King Crimson, and the like.

Next week brings Sorceress, their 12th studio album. Featuring 11 tracks with titles such as “Will O the Wisp”, “Strange Brew”, and “A Fleeting Glance”, the question that many have is does this album challenge listeners the way pretty much all of their previous albums have or has Opeth reached a dead end?

Opeth have always been unpredictable. Damnation was a risk that they themselves admit to being apprehensive about releasing. After all, a death metal band releasing an almost entirely acoustic album with no growls or distortion? Yeah, that’s a risk no matter how you look at it. However, the fanbase recognized that this was something the band had already incorporated into the earlier material and it was just being given its own platform to shine. They recognized the strength of this kind of Opeth.

I bring this up because while Sorceress takes elements of their earlier works, and is essentially a continuation of the past two albums, it doesn’t feel like the band had their hearts fully placed here. Yes, they play exceptionally well and each stands out but I’m not talking about their performances. I’m talking about the music itself. Too many times does it feel like the band doesn’t know how to progress in the song, so the transitions they fell upon can be sudden or jarring. “Strange Brew” makes this apparent when a beautiful but sudden guitar solo comes in around the 1:30 mark, only to itself be overtaken by a frantic passage just over 30 seconds later.

Many of the riffs across the album are heavy as hell, no doubt about it. The fact that the band doesn’t have the distortion cranked doesn’t change the fact that these are some tasty licks. Heaviness doesn’t come from distortion, it comes from the heart. The band has said that this album would be “darker” and it certainly fits that bill. “Sorceress”, “The Wilde Flowers”, and “Chrysalis” are perfect examples of this.

One of my favorite tracks is “Sorceress 2”, which walks a fine line between light and dark. There are moments where the acoustic guitar plays almost heavenly passages only to suddenly twist like a serpent into something far more sinister. Meanwhile, the majority of “The Seventh Sojourn” is a Middle Eastern-influenced instrumental that isn’t all that exciting. However, it has a gorgeous ending that features distant, almost monastic vocals and a twinkling piano melody.

A big positive here is just how dynamic Sorceress is. Those who listen to this while wearing headphones should pretty much be always ready to adjust the volume because it goes from whisper quiets to roaring riffs. I love albums that do this because I choose to leave my volume at one level, forcing me to strain to hear the quiet and being blown away by the loud.

The Final Word: Sorceress isn’t a bad album by any stretch of the imagination. I don’t think Opeth even know how to put out a bad release. However, it doesn’t push the band into any new boundaries, which is what I feel every album beforehand did.

Opeth 'Sorceress' Front cover FINAL JPG

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‘Lost Themes IV: Noir’ – John Carpenter Announces New Album & Releases New Music Video!

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Lost Themes IV
(l-r) Cody Carpenter, John Carpenter, Daniel Davies - Photo Credit: Sophie Gransard

John Carpenter has been teasing big news for a couple weeks now and all has been revealed this morning. Carpenter is back with Lost Themes IV: Noir from Sacred Bones Records!

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

John Carpenter called the first Lost Themes album “a soundtrack for the movies in your mind.”

From John Carpenter, Cody Carpenter and Daniel Davies, Lost Themes IV: Noir is set for release on May 3 via Sacred Bones Records. The album pays tribute to Noir cinema!

In conjunction with the announcement, they’ve shared a music video for the album’s first single, “My Name Is Death”, a miniature noir film directed by Ambar Navarro, starring Natalie Mering (Weyes Blood), Staz Lindes (The Paranoyds) and Misha Lindes (SadGirl). “Noir is a uniquely American genre born in post-war cinema,” states Carpenter. “ We grew up loving Noir and were influenced by it for this new album. The video celebrates this style and our new song, My Name is Death.”

Sacred Bones previews, “The scene-setting new single marks new territory for Carpenter and his cohorts, propelled by a driving post-punk bassline that is embellished by washes of atmospheric synth, pulsing drum machine, and, at the song’s climax, a smoldering guitar solo.”

“Sandy [King, John’s wife and producer] had given John a book for Christmas, of pictures from noir films, all stills from that era,” Davies says of the lightbulb moment for Lost Themes IV. “I was looking through it, and I thought, ‘I like that imagery, and what those titles make me think of. What if we loosely based it around that? What if the titles were of some of John’s favorite noir films?’ Some of the music is heavy guitar riffs, which is not in old noir films. But somehow, it’s connected in an emotional way.”

Sacred Bones notes, “Like the film genre they were influenced by, what makes the songs on Lost Themes IV ‘noirish’ is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it.”

“It’s been a decade since John Carpenter recorded the material that became the initial Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts,” the label explains. “Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green’s trilogy of Halloween reboots. It helped that they grew up in a musical environment. Daniel’s dad is The Kinks’ Dave Davies, and he would pop by the L.A. studio – the same one the Lost Themes records are made in today – to jam, or to perform at wrap parties for John’s films. That innate free-flowing chemistry helps Lost Themes IV: Noir run like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

Here’s the full Lost Themes IV: Noir track list:

1. My Name is Death
2. Machine Fear
3. Last Rites
4. The Burning Door
5. He Walks By Night
6. Beyond The Gallows
7. Kiss The Blood Off My Fingers
8. Guillotine
9. The Demon’s Shadow
10. Shadows Have A Thousand Eyes

The following physical variants will be available:

  • Sacred Bones Exclusive Red on Clear Splatter vinyl w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.
  • Sacred Bones Society Exclusive on Black and White Splatter on Clear w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.
  • All retail Transparent Red, with a Gold Foil Stamped Jacket and poster.
  • Indie Exclusive Tan and Black Marble, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.
  • Rough Trade Exclusive Oxblood Red and Black Splatter, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.
  • Shout Exclusive Black and Clear cloudy, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.
  • Black LP, with a Gold Foil Stamped Jacket and poster.
  • CD
  • Tape

You can pre-save Lost Themes IV: Noir right now!

Lost Themes IV Noir

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