Originally, the rock hard and highly complex album „Deliverance“, the first production with Steven Wilson (Porcupine Tree), should have been released in 2002 together with its more gentle counterpart „Damnation“. However, the label insisted on two separate releases.
Tracklist - Deliverance
- 3.A Fair Judgement
- 4.For Absent Friends
- 5.By The Pain I See In Others
- 6.Master's apprentices
EMP Editorial Team (18.11.2005)
So here it is, the sixth album of the Swedish gods Opeth. "Deliverance", too, won't disappoint any true fan of this exceptional quartet. The basic essence of this again overly long album is surprisingly aggressive and gloomy, so "Deliverance" comes closest to the band's early works, such as "Orchid" or the heaviest Opeth-album so far, "My arms, Your hearse". Yet, the listener doesn't have to do without the typical Opeth-trademarks and gets a true fireworks of fine ideas. Mikael Akerfeldt often growls in extremely deep regions only to go on with his unmistakable clean voice. The technical brilliance of the band is again stunning and is perfectly set to scene by the impressive sound. Each of the six songs is a highlight for itself, but I have to highlight the rough "Wreath" and the almost 15-minute title song, 2 songs having everything that Opeth have always stood for. Fans of the more mellow sounds should better check out the band's twin album, "Damnation", rather reflecting the calmer side of the band. Ingenious!
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Deliverance is Swedish heavy metal band Opeth's sixth studio album. It was released on 12 November 2002. It was recorded between 22 July and 4 September 2002.
The most immediately impressive aspect of Deliverance is the drumming of Martin Lopez. Despite Opeth scaling back the diversity and ambition of past releases, Lopez manages to go all out in speed and ferocity while avoiding dominating the spotlight.Gone are the doomy soundscapes and jazzy influences of previous releases.
Deliverance is all about the speed and the metal, but it wouldn’t be Opeth without the lighter sections. “Master’s Apprentices” contains a beautifully pensive middle section with melodic guitar taking the spotlight alongside Åkerfeldt’s most profound and emotive singing moments of Deliverance. Åkerfeldt gives one of his most menacingly subtle vocal performances, softly delivering the lines “Deliverance, thrown back at me. Deliverance, laughing at me.” It’s a perfect display of Opeth once again conveying emotion and grabbing the listener’s attention by taking a sharp departure from what was expected.
What ultimately makes Deliverance such a success is the interplay of different musical stylings and dynamics in a more concise fashion. Never before have Opeth’s flirtations with light and dark played off each so successfully and consistently.
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