Where would the band go after 2011’s Heritage? Well, if you have been listening to any recent discussions with frontman Mikael Akerfeldt, it was clearly not back to Blackwater Park. While this has the fan base split some, it is a shame for anyone who is on the side that dismisses the band. Pale Communion is a triumph, and almost leaves Heritage in its wake with its bold and fearlessWhere would the band go after 2011’s Heritage? Well, if you have been listening to any recent discussions with frontman Mikael Akerfeldt, it was clearly not back to Blackwater Park. While this has the fan base split some, it is a shame for anyone who is on the side that dismisses the band. Pale Communion is a triumph, and almost leaves Heritage in its wake with its bold and fearless movement forward into pure progressive majesty. Akerfeldt and gang have laid down one of their best pieces of work in sometime, and it lurks just outside of being their best period, and who knows, given some more time I may even claim it their magnum opus up to this point. Musically, this is their crowning achievement. Pale Communion sees Akerfedlt as a song writing and composing machine, as he has a grip on these eight tracks death tight, and compliments them wonderfully with his best vocal performance ever. Martin Axenrot delivers possibly his best drumming ever, as he at one moment stays repetitive to lay the path for the others, but on a dime will create jazz tinged rhythms that fill in empty spaces with a puzzle fit, or use creative and moody fills to transition the band from grey skies to rain, and back to a drizzle while never loosing focus. Also in need of mentioning is Martin Mendez who is at the top of his game as well with his fat bass lines and even quiet set pieces for Akerfedlt and Fredrik Akesson to run wild through, all frosted over with Joakim Svalberg’s soft spoken piano and thundering organ.
While Heritage is the album that introduced “new Opeth” it is Pale Communion that introduces the band that should be, yet again, turning our heads and, yet again, pioneering something great. It is without doubt that Akerfedlt finds influences in his LP collection of early progressive rock acts but do not be fooled into thinking that this is not an original Opeth piece that sounds like no one other than Opeth. While there is no sign of death metal on the horizon, it can hardly be considered a loss, as these eight tracks present an ensemble with rich ideas and musical depth that is solely lacking in much of today’s heavier material. Now, there is plenty of room for Opeth to bring us more of the menacing aggression found on Ghost Reveries and Deliverance, but that was not the goal of Pale Communion, and therefore it would be closed minded not to take it for what it is, and what it is, is a fantastic album deserving of your attention. This is not an experiment in Opeth’s sound; this “is” Opeth’s sound. There is a somberness to be found in even the albums most energetic of grooves, and then yet there is also heart thudding adrenaline to be found in even acoustic and piano duet passages. This album has been carefully crafted, and it shows constantly. From its opening “Eternal Rains Will Come” which welcomes us with three minutes of mood shifts and autumn forest atmospheres before Akerfeldt’s voice comes in and guides us through the rest of this wonderful piece. From there it is a journey of transitions and well timed ideas, thought provoking arrangements and daring musical escapades. “Cusp of Eternity” gives us thick groove based around Hungarian minor scales as well as one of Opeths most melancholy metal guitar solos ever, followed by “Moon Above, Sun Below” which quite literally haunts us with its 11 minute run time and five spooky movements of ever changing styles. You will find surprises around many corners, including the groovy and playful instrumental Goblin, the completely unexpected first half of River which has us believing we are listening to a dusted off forgotten 70s classic rock song until its second half throws its fist into our faces making us feel foolish having briefly forgotten this was still an Opeth song, and when it does, hold on for some of the bands finest prog delivery. The final two tracks contain strings and at once are used to thicken the sound but eventually bloom into full color as Opeth reaches for the Heavens on closing track “Faith in Others” just before closing on a calmer note and leaving us breathing room to reflect on all of Pale Communion.
Opeth are far from short of steam, and if you are writing this band off of anything post Watershed, you need to do yourself a favor and take on Pale Communion. The bands spirit exists in this album, and with it so does the beating heart that makes Opeth who they are. This is an Opeth album through and through, and as a huge fan of past albums and a lover of their signature inner death metal beast, after the 55 minutes and 40 seconds that make up Pale Communion; I am currently not missing the past. What the band is doing right now is just too good, and I cannot wait for the future.
- Matt M.
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