Author: Peter Podbrežnik
Artist: Opeth
Label: eOne Music Records
Release: 2003
Length: 43:20
Rating: 4.5/5
On »Damnation«, Swedish prog/death metal champions Opeth went through a dramatic transformation into a progressive rock band for the first time, and one that came as quite a surprise to their longtime followers. Truth be told, it was only a matter of time, given that ever since the album »Blackwater Park« (2001) Opeth had been working more and more ‘old-school’ prog rock elements into their extreme metal approach. Opeth’s chief, an old hand who knows every trick in the book, guitarist, singer and songwriter Mikael Åkerfeldt, was a huge fan of the progressive rock made in the seventies and had always wanted to make an album that would let him pay tribute, at least in part, to some of his musical heroes.
After meeting English musical and production genius Steven Wilson (Porcupine Tree) during the making of »Blackwater Park«, who came back to work on »Damnation« as both producer and guest musician, it was clear that Opeth had reached a whole new level of their artistic evolution, and for the first time in their career they fully gave up the death growls in favor of clean vocals. »Damnation« was originally conceived, just like its far more brutal predecessor »Deliverance« (2002), as one half of a double album that would show the band’s two different faces. In the end it wasn’t just a complete turnaround in style, but also a temporary farewell to harsh vocals.
The stylistic approach on »Damnation« could best be described as distinctly melancholic progressive rock with a dark ambient stamp, within which you can’t miss that typical Scandinavian pathos. With the gloomy atmosphere, the resigned lyrics and the absolute triumph of the Mellotron reigning over everything, the influence of certain prog legends, led by King Crimson, is impossible to overlook. Anyone who loves the first four King Crimson albums will enjoy every single moment of »Damnation«, because the Mellotron’s triumph couldn’t be more complete. Besides clean vocals, »Damnation« also features plenty of clean guitars, led by numerous moving acoustic interludes, and this is where Åkerfeldt’s long-running fascination with the Mellotron really began, one that lasts to this day. On top of his production duties, Steven Wilson played all the keyboards on the album superbly, piano and Mellotron above all, and did it so well that Åkerfeldt started seriously wondering whether it might not be a good idea to broaden the band’s sound in the near future and bring a proper keyboardist into the fold (which did happen on the next Opeth album, »Ghost Reveries«, 2005).
The record’s main strength, besides the enviable technical chops of the individual musicians, is its intense atmosphere, which keeps the listener in a state of tension from the very first second. The opening track »Windowpane«, which also got a video, proves right away that we’re dealing with a band that’s stylistically almost completely different this time. The gloomy mood is stitched together by Mikael’s melancholic vocals alongside subtle guitar passages, while dramatic and at times almost phantasmagorical Mellotron curtains flow in the background. The complex instrumental section in the middle only ramps up the ever-present eerie, mysterious atmosphere, which at times sounds like the soundtrack to some dark Scandinavian legends.
It’s hard to believe, especially given the overall level of guitar finesse and the ambient depth of the symphonic arrangements, that only a year earlier the band had released the brutal »Deliverance«, one of their heaviest albums. The dark, symphonic-pastoral ballad »In My Time Of Need« is another distinctly melancholic creation, with moving acoustic guitar chords, thick Mellotron curtains and a stunning, deeply emotional vocal performance from Mikael. »Death Whispered A Lullaby«, written by Wilson, which explains its occasional stylistic kinship with Porcupine Tree, opens with an enigmatic guitar motif while Mikael’s vocals keep building the overall mysterious mood. The gorgeous guitar and keyboard harmonies and sophisticated acoustic finesse will please every worshipper of old-school prog. A virtuoso guitar improvisation is a reminder of the band members’ enviable technical skills, although it has to be admitted that the main stars of »Damnation« were Åkerfeldt and his guest Wilson.
»Closure« brings an ice-cold atmosphere, courtesy of its shattering vocal lines and sprawling acoustic guitar passages. This time Martin Lopez really gets to cut loose on drums, while a dark guitar variation delivers one of the album’s few somewhat punchier moments. Further on, a chilling arrangement steps into the foreground, sounding like it’s coming straight from the depths of hell. »Hope Leaves« is a romantic and slightly nostalgic acoustic ballad that provides a lovely ambient contrast, even though it’s yet another distinctly melancholic piece with resigned lyrics. At every turn, then, you can feel Wilson’s ambient stamp.
»To Rid The Disease«, which boasts remarkable vocal contrast, is one of the atmospheric highlights of »Damnation«, mostly thanks to its soaring chorus, in the middle of which the Mellotron takes over once again. The epic closing section, which at times recalls King Crimson, is especially impressive. Here you could talk about a kind of prototype for the later joint project between Mikael and Steven called Storm Corrosion, as well as the seed of some future prog rock achievements from Opeth. »Ending Credits« is a shorter instrumental with spirited bass lines, a flamenco pulse, mighty Mellotron waves rolling over the acoustic guitar, and a virtuoso guitar improvisation that anyone who loves virtuosity and subtlety in the same package will lick their lips over. Sparingly seasoned, »Weakness« is a superb ending to this fantastic album, with an interesting use of guitar effects that Opeth use to crank up the tense atmosphere, while Mikael occasionally uses a vocoder for his singing this time.
»Damnation« was a radical but hugely successful break from Opeth’s sound up to that point, catapulting Åkerfeldt’s ambitious crew straight into the world of progressive rock, at least for a while. Besides the phenomenal production, the album also benefits from its lack of pretension, especially when it comes to its length, since it only just exceeded the time limits of the LPs made by the progressive rockers of the seventies.
As expected, this radical move split Opeth’s fan base right down the middle, and reactions to the album were extremely varied. The more open-minded metalheads were thrilled that a band that had been constantly evolving artistically tried something new, while the more ‘hard-nosed’ types raged against the new style, which they couldn’t understand at all, let alone feel. It was precisely because of the latter that Opeth didn’t want to risk another radical stylistic about-face like this, so on the next studio effort, »Ghost Reveries«, they opted for a ‘middle path’, meaning progressive death metal with the occasional prog rock moment. Luckily, that was only a temporary compromise before an incredibly successful return to progressive rock, which happened in 2011 with the album »Heritage«.
Lineup
Mikael Åkerfeldt – vocals, guitar
Peter Lindgren – guitar (1–7)
Martin Mendez – bass guitar (1–7)
Martin Lopez – drums, percussion (1–7)
GUEST MUSICIAN:
Steven Wilson (Porcupine Tree) – keyboards, piano, Mellotron, backing vocals, mixing, production
Production
Opeth and Steven Wilson
Track list
1. Windowpane (7:44)
2. In My Time Of Need (5:49)
3. Death Whispered A Lullaby (5:49)
4. Closure (5:15)
5. Hope Leaves (4:30)
6. To Rid The Disease (6:21)
7. Ending Credits (3:39)
8. Weakness (4:08)
