Opeth - Damnation


8.7 | 1959 votes |
Release date: 22 April 2003
Style: Progressive rock

Owners:

2321 have it
88 want it
3 trade it


01. Windowpane
02. In My Time Of Need
03. Death Whispered A Lullaby
04. Closure
05. Hope Leaves
06. To Rid The Disease
07. Ending Credits
08. Weakness

Top 20 albums of 2003: 9

Line-up
Mikael Åkerfeldt - vocals, guitars
Peter Lindgren - guitars
Martin Lopez - drums, percussion
Martín Méndez - bass

Session musicians
Steven John Wilson - backing vocals, mellotron, Grand piano, Fender Rhodes

Additional info
Recorded at Nacksving Studios and Studio Fredman.
Additional vocals, lead guitars and keyboards recorded at Steven Wilson's No-Man's Land studios.

Produced by Steven Wilson with Opeth.
Engineered by Opeth and Steven Wilson.
Mixed and mastered by Steven Wilson.
Music and lyrics by Mikael Åkerfeldt. Death Whispered a Lullaby lyrics by Steven Wilson.

Sleeve and booklet designed by Travis Smith, visual direction by Opeth.
Visual elements captured by Ken Seaney, Rex Zachary and Travis Smith.
Band photography by Mick Hutson.

Guest review by
JohnDunphy
Rating:
9.0
Opeth is not something one can easily absorb in one listen. The band's music is complex, even when sounding as seemingly simple as it does on their latest release, Damnation, due to hit the streets on April 22. But those hearty enough to give it a chance are sure to be amply rewarded.

Damnation is the Swedish four-piece's follow up to last fall's Deliverance. The two albums were recorded simultaneously, in a span of time the band would usually allot for one release. However, any fears of a rush job at the expense of quality are hushed when one sits down to listen.

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published 18.09.2003 | Comments (35)

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Comments: 35   Visited by: 1510 users
16.03.2021 - 14:15
JoHn DoE

Written by tsd on 16.03.2021 at 14:10

Written by JoHn DoE on 16.03.2021 at 14:00


Like I said, I do not know of Wilson being a control freak as a producer.


My critique of this album is about the outcome sounding too close to the other stuff Wilson dabbled in. How he works with the artists he produces in the studio is irrelevant.


But you said "'Breathing down his neck' as in supervising closely to the point of full control."
You kinda contradict yourself here.
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I thought the two primary purposes for the internet were cat memes and overreactions.
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16.03.2021 - 14:25
Rating: 6
tsd

Written by JoHn DoE on 16.03.2021 at 14:00

You kinda contradict yourself here.

Mate, have this sort of a discussion with someone else. I explained what I meant. My judgement concerns the band's output only.

Wilson's influence lies heavy on Opeth from Blackwater Park and on. His creative input can be heard on Damnation the most and I'm surprised that Akerfeldt went in for it so much on later albums.
I always wondered why mentioning a good band (which Opeth are admittedly) may have their shortcomings inspires an almost knee jerk reaction. I rated this album an average without being inadequately harsh, while giving my reasons. The last thing I want is to nit pick around what has been said.
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16.03.2021 - 14:59
Rating: 8
musclassia

Written by tsd on 16.03.2021 at 14:25

I always wondered why mentioning a good band (which Opeth are admittedly) may have their shortcomings inspires an almost knee jerk reaction. I rated this album an average without being inadequately harsh, while giving my reasons. The last thing I want is to nit pick around what has been said.


I would say there's a difference between saying a band/album has its shortcomings and ranting about it being a money grab and uninspired copy of a band that hadn't released any music when this album was released (Blackfield). Your comments on Deliverance are very reasonable, even if I do love that album in contrast to you, but the ones here seemed a bit strange, which is why I (and presumably John Doe) decided to comment on them. In any case, I agree that there's not much to be gained from the ongoing discussion running much longer.
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16.03.2021 - 15:12
Rating: 6
tsd

Written by musclassia on 16.03.2021 at 14:59

uninspired copy of a band that hadn't released any music when this album was released (Blackfield).

Let's leave it at there being too much of an idea flow between the 3 bands mentioned, whether at the time or around the time (it's been almost 20 years mind). My observations point to Wilson being the key influence and driver of musical ideas, having heard bits of them scattered throughout PTs releases before. Again, I'm not the type to buy into rehashing the same ideas on a countless flow of records.
But pardon me, I will stand by my rant on releasing two albums within months of each other as a money grab. Listening to the album at the moment, many of the songs on Damnation could be half the original length without sacrificing much, making this an EP, which it is really. Ideally, I'd see it as bonus disc to Deliverance but again there is the business side of things at the label to be taken care of.
I'm probably wrong. This album may have been a buy-in into the prog world that may not be quite as appreciating of the death metal style vocals featured on Deliverence and prior.
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16.03.2021 - 15:16
Zap
Phlegmish
Written by musclassia on 16.03.2021 at 13:41

As someone who really likes both PT and Opeth, I can't say that there's glaring similarities between PT's work and Damnation beyond the fact that Steven Wilson produced both and that both feature acoustic guitar songs. I'd say there's a clear disconnect in the approach to the songs found here and the likes of Trains, Shesmovedon, Last Chance To Evacuate Planet Earth..., Don't Hate Me, and other softer PT songs released in the few years prior to Damnation's recording sessions; they're obviously not completely removed from each other, in so much that melancholic soft prog songs will have some overlap due to being the same style, but I think it's reductive to call it a copy of PT. And I can't see how it can be called a copy of Blackfield when the album was recorded and 2002 and Blackfield didn't even release their first single until 2003. Not liking Deliverance or Damnation is down to personal taste, but calling the Deliverance/Damnation double-recording an uninspired money grab is IMO an excessively cynical interpretation of the creative decision to explore the dichotomy of their sound at the time on two separate albums.

It's funny, I only started listening to Steven Wilson's work because of his contributions to Opeth and wanting more of his "input". I was very disappointed at first because I expected something along the lines of the softer/melodic parts of Opeth (I love Damnation) and that's not what Wilson's music is, although there are obviously some comparisons to be made.
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And the tears that we will weep today
Will all be washed away
By the tears that we will weep again tomorrow
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