Watershed by Opeth
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Release date : June 2008
Reviewed by Mark Fisher
Background information
Review
Background information
On November 1st 2007, Stockholm, Sweden's Progressive Metal act Opeth entered Fascination Street studios in the group's native Sweden to cut the group's ninth studio album. Staying there until December 13th 2007, some additional recording occurred between January 3rd and January 7th 2008. In February, the title of Opeth's ninth studio album was revealed: Watershed. Production duties were spearheaded by both frontman / guitarist Mikael Åkerfeldt, and Jens Bogren. Watershed is the first Opeth album to feature the contributions of both axeman Fredrik Åkesson, and drummer Martin Axenrot. Guitarist Peter Lindgren had left the group in May 2007 after a sixteen year stint, citing a loss of passion towards the music industry. Meanwhile, drummer Martin Lopez had left following a nine year stint during May 2006, the result of ongoing health issues. Åkerfeldt has accredited Avante-Garde artist / crooner Scott Walker's 2006 album The Drift as an influence upon Watershed, and stated that he didn't wish for the album to possess a happier vibe. With a clear vision of what the lyrical content would revolve around, Åkerfeldt wrote the album's entire lyrics in one night while at the studio. Each and every track was solely written by Åkerfeldt with the exception of “Porcelain Heart”, co-written by Åkerfeldt alongside Fredrik Åkesson. Written by Åkerfeldt and keyboardist Per Wiberg, additional track “Derelict Herds” was additionally penned. Three cover interpretations were also laid down; Robin Trower's “Bridge of Sighs” (from the 1974 album of the same name), Marie Fredriksson's “Den Ständiga Resan” (from the 1992 album of the same name), and Alice In Chains' “Would?” (from 1992's Dirt). Following the tradition established by past album's, the album's cover artwork was designed by Travis Smith in under the direction of Åkerfeldt. Aiming towards a seventies washed out vibe that depicted complete isolation, Smith submitted numerous ideas before Åkerfeldt was approving.
To capitalise upon Opeth's fortunes as of 2008, Peaceville Records opted to release a two-disc edition of the group's 1999 opus Still Life in March 2008. The CD features a remastered stereo mix of the album, whereas the DVD boasts a new 5.1 Surround Sound mix and live performance footage of “Face of Melinda” from a London concert. In addition, original artwork designer Smith reworked the cover. The act's inaugural outing for Peaceville, Still Life was recorded at Gothenburg's Studio Fredman and Maestro Musik under the wing of Fredrik Nordström. Now remixed and remastered, Jens Bogren is the man responsible.
A music video was cut to plug Watershed meanwhile, more specifically in support of edited song “Porcelain Heart”. Directed by Lasse Hoile (Porcupine Tree), the clip was shot in Vaxholm, Sweden at the Bogesund castle, built in the 1640s. The track's edit was handled by Bogren and Åkerfeldt. In late April, the track underwent a digital release. During the same period, a new track entitled “The Lotus Eater” was made available for free download via Roadrunner's official website. Throughout May, Opeth honoured North American dates as part of the Progressive Nation tour alongside Dream Theater, Opeth, 3 and Between the Buried and Me. When the tour had dates free, Opeth scheduled headline gigs. Roadrunner Records asked Opeth and Dream Theater to conduct a collaborative performance for a few limited fans during a short break (between May 18th and 20th), although the scheduled unplugged set wasn't feasible. Therefore, it was scrapped.
Review
When critiquing an Opeth full length, it's difficult to choose an inaugural focal point. Do you opt to discuss the breadth and depth of the group's amazing diversity? Or progression? Or even creativity? Or perhaps you initially discuss the group's masterfully disciplined approach towards songwriting, and how the act maintains the listener's focus, in spite of the material's frequently extreme nature. Simply transcending both genre limitations and overall expectations, Opeth inhabit a dwelling unearthed by few others.
In terms of songwriting, production and vocal abilities, Mikael Åkerfeldt's skills have immensely grown, and this proves to be the inaugural thought which strikes the listener upon Watershed's debut airing. Åkerfeldt finally comes of age in authoring Watershed, which is a strange turn of events in light of predecessor 2005's Ghost Reveries - arguably one of Opeth's weakest efforts. Watershed's firm, common ground will unite Opeth admirers both old and new, and the album's arrival couldn't be timelier. At the time of writing, Opeth's global profile is burgeoning.
In some respects, Watershed's stylistic penchant bears similarities to 2001's Blackwater Park. To cite an example, pay heed to the psychedelic vibe which is audible during “Hessian Peel”'s heavier aspects. The track's breakdown is marked by a writhing, untamed ambience that recalls such groups as Iron Butterly and Black Sabbath's earlier works, although Opeth's resonance exhibits an affinity with heyday Blue Öyster Cult. Unsettling yet nonetheless accessible, the evident style can still be largely described as signature Opeth. Forming another prime example, “The Lotus Eater” seamlessly shifts between a stomach wrenchingly heavy fragment, and a grandiose, overtly accessible fragment. Of the material the group has penned in their nigh on two decade career, this is arguably Opeth's most progressive track. Organs are utilised, lending phenomenal depth to the song's progressive disposition. “Coil” (featuring local Folk singer Nathalie Lorichs) opens Watershed, and lies at the opposite end of the spectrum. Profoundly intimate, this acoustic refrain proves modest.
Following a momentary period of silence, “Heir Apparent” makes its appearance. An astonishing transition, the number dispels all fears that Watershed would continue the jaunt established via Ghost Reveries. “A bit more energetic” are the words Åkerfeldt used to describe this full length, and that statement is grossly modest. When critiqued against other albums, Watershed's dynamism cannot be surpassed. The album's collection of songs smoothly flow, yet maintain an individual diversity. All in all, this is what the album's dynamism makes a contribution towards. More often than not, this assemblage of tracks closely approaches conceptual themes. To say the least, the ramifications prove quite intense. Within the sphere of heavy music, Opeth are a superior act. If you held any grave concerns, then Watershed will most likely lay them to rest.
