Reviewing a new Opeth album is a treat for me. I’ve been listening to the band for well over a decade, thoroughly enjoying their rather unique take on progressive rock/metal. The band’s music has gotten me through a great many dark periods in my life and has always been an inspiration when writing music on my guitar.
Now, three years after the release of Heritage, which caused some rather sharp divides in the metal community for its lack of brütal heaviness, their new album Pale Communion has arrived and I’m here to share some thoughts.
Opening with “Eternal Rains Will Come”, the band doesn’t give the listener any chance to get comfortable. The song immediately kicks in, almost in such a way as to give the impression that we, the listener, have missed something and entered into a piece that has already been playing. With some giallo-esque moments and some lovely vocal harmonies, this track paves the way for what’s to come.
“Cusp Of Eternity” continues the album with an almost militaristic guitar riff that somehow still feels light and spry. But it’s “Moon Above, Sun Below” that really demonstrates the versatility of this album.
With stunning peaks and lush valleys, the track has a dark, intense attitude that dynamically shifts and evolves. The riffs in this track are highly reminiscent of older material, just with the distortion traded in for overdrive. Vocalist Mikael Åkerfeldt songs with passion and intensity, grating his voice but never diving into his signature rasps and growls. Easily one of my favorite tracks on the album.
“Elysian Woes” would be the perfect accompaniment to a foggy Fall day while “Goblin” is true to its name, paying homage to the band that horror fans know and love for their Suspiria and Profondo Rosso soundtracks.
Perhaps the most unique track on the album is “River”, which begins with a happiness that I’ve never heard before in an Opeth track. It does shift to minor but comes back to major, ultimately building to an entirely unexpected yet delightful climax.
“Voice Of Treason” opens with a Danny Elfman-esque lullaby while “Faith In Others” ends the album in the perfect way, with some truly beautiful and sublime moments.
Perhaps the greatest compliment I can give this album was that it always kept me guessing. It challenged me, which is more than I can say for many artists and their releases. This is a monument to the wonder and magic of the prog rock glory days while sounding fresh and exhilarating, as well as incredibly cinematic.
Opeth has always been a band that has challenged itself and evolved album to album. Pale Communion is no exception and is, once again, a natural flow that maintains the stellar songwriting we’ve come to know and love. Just because the guitars aren’t pushing 11 on the amps doesn’t mean the album doesn’t become emotionally heavy. Just change where your expectations are aimed and you will find precisely what you’re looking for.
The Final Word: To those of you who wanted a return to an older style of Opeth, Pale Communion will surely disappoint. However, for those who have followed the band and, more importantly, their progression, this album is a glorious addition with truly gorgeous material.
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