Heard a song from this album on a TV Show, checked the online credits:
http://www.tvshowsongs.com/criminalmindsmusicseason1.html
Season 1 - Ep. 22 - "The Fisher King - Part 1"

Song : Death Whispered a Lullabye
Artist : Disturbed

WHAT?!

Written by Introspekrieg on 11.03.2011 at 05:40

Song : Death Whispered a Lullabye
Artist : Disturbed

[Draiman]Nya-huh huh[/laugh]!

I was surprised how different this album was from most Opeth albums, as all the songs were slow-tempo and there weren't any screams or grunts. But nonetheless, this was still a great album. 9 stars.

Powerful album opener and closer(Windowpane and weakness),i normally listen to this just to clear my head. Awesome work.

Written by aerobat97 on 27.07.2011 at 19:00

I was surprised how different this album was from most Opeth albums, as all the songs were slow-tempo and there weren't any screams or grunts. But nonetheless, this was still a great album. 9 stars.

Man, the reason is Steven Wilson ^^

So perfect combo with Deliverance

So beautilful. Special mention to Closure.

Being a huge prog rock nerd, I fell in love with this amazing album upon first listen. Windowpane is one of the greatest songs ever, I love listening to this song when I'm on a nice long road trip staring out my window (no pun intended).

This album is close enough to perfection! Every note, every tone of voice...it's just amazing! Such a nice epic! And it's a lovely one indeed! I love it a lot! Specially "Hope Leaves", "In My Time Of Need" and "To Rid The Disease"!

Very good album, though there isn't much variety to be found with all songs having the same style. Unfortunately it's my least favourite album except for Heritage, simply because I'm not overly fond of its style. Windowpane is the best track for sure, it's simply brilliant.

Closure is definitely my favorite song on this album. It's also the first song I've ever heard from Opeth, and it's what got me listening to the rest of their material. The abrupt ending is awesome, and what it represents is equally awesome. Sometimes you lose things or people close to you. Sometimes it's hard to recover from the shock of a sudden loss.

Sometimes you just don't get closure.

Damnation is more a progressive rock than metal album, but its still Opeth. The songs are beautiful as always!:bow:

Some people will always have a problem with this album. IMO clean parts have always been a very big and very important part of opeth's sound and dedicating a whole album to let this side of them develop fully is a good thing. If its not your cup of tea they have plenty of heavier albums but i think its nice to have such a varied discography. At the end of the day even if it isnt a "true opeth album" its still a very good album.

I like the dark atmosphere on this album. Akerfeldt's clean vocals sound much better when they're restrained in that lower and softer style. He should stick to that, because it really works for him given the depth of his voice. Unfortunately he likes to try out his range and that's where it becomes a challenge for me to keep listening.

The music is nice though, although not because it's more extreme. This is a really mellow and subdued album, but it's a sound they pull off well. It reminds me at times of Green Carnation's Acoustic Verses, and that's not a bad thing.

Written by Troy Killjoy on 22.08.2014 at 06:14

I like the dark atmosphere on this album. Akerfeldt's clean vocals sound much better when they're restrained in that lower and softer style.

I agree whit that part

What was people reation back then when it was out? Bands last 2 albums most fans was fade up and disappointed
how was then?

I enjoy it a lot --- Window pain, In My Time Of Need are great songs, Åkerfeld's clean vocals are great, emotions and so on, it works, he should re cord something whit clean vox and same extreme prog sound as in first two albums, it would be great.
I like this album, my 3th fav from this band , I don't care what fan boys and fan girls say, good album , I enjoy it

Written by Guest on 28.10.2015 at 13:41

A solo 60 seconds into the album what is this nonsense?! Opeth fans must have been in a state of rapture during this period. Three high quality albums in a span of two years. This one has a ghostly, sombre beauty that envelops you in its misty haze. Windowpane is such a perfect driving song and closure is one of the more unique songs I've heard.

Cannot agree more! Such beauty in this album. If only Opeth could stay with this path.

This is my favourite Opeth album.

Been listening to Opeth all day today for some reason. Been a long time since I gave them attention and I was craving it I guess.

I've always loved this album but as of today, I want to say it's one of my favorite albums ever. If not my top favorite. I always loved Opeth's slower more emotional side. I'm glad they decided to pursue that sound, though I still very much love their heavier albums as well.

There was a time when they were my favorite band. Although they aren't any more, I still love everything they've done.

I wish new Opeth was more like this.

Releasing 2 albums within a few months - a money grab. What's worse is the more apparent lost of identity, first spotted on Blackwater Park: songs on both albums appear to sound even more like a copy of Porcupine Tree or Blackfield. Songs on both albums sort of fade in comparison with Opeth's previous output. A certain lack of inspiration is apparent in frequent resorting to Wilsonesque repertoire of tricks.

Written by tsd on 15.03.2021 at 20:14

Releasing 2 albums within a few months - a money grab. What's worse is the more apparent lost of identity, first spotted on Blackwater Park: songs on both albums appear to sound even more like a copy of Porcupine Tree or Blackfield. Songs on both albums sort of fade in comparison with Opeth's previous output. A certain lack of inspiration is apparent in frequent resorting to Wilsonesque repertoire of tricks.

Maybe I shouldn't react to your post but I just disagree to what you said here.

A copy of PT? To be honest I never thought of PT when listening to Damnation, I did think of Camel and David Gilmour when listening to it. Also Mikael has a different style in playing guitar, I say he's a much better guitarist than Steven (also a better singer if you ask me).
Why mention Blackfield? How can Damnation sound like Blackfield, which released their debut in 2004.

Loss of identity? It's a musician trying new things. I can only respect that, even when musicians are not successful.
Starting with in Absentia, PT's music had metal elements, so it's more likely Opeth (and some other bands, like Tool for example) were an influence on Steven Wilson.

Lack of inspiration?! It's a unique album, I don't know other albums sounding like this. I'd rather listen to Damnation than many PT and Wilson solo albums.

Written by JoHn Doe on 16.03.2021 at 08:54

A copy of PT? To be honest I never thought of PT when listening to Damnation, I did think of Camel and David Gilmour when listening to it. Also Mikael has a different style in playing guitar, I say he's a much better guitarist than Steven (also a better singer if you ask me).

You're very welcome to disagree. I do not question Akerfeldt's abilities anywhere only the face value of his output on this record.

Written by JoHn Doe on 16.03.2021 at 08:54

Why mention Blackfield? How can Damnation sound like Blackfield, which released their debut in 2004.

Interesting point about Camel, that may be the common denominator for Wilson's and Akerfeldt's influences.
Mind how the albums where Wilson is producer sound like PT. Blackfield may have been Wilson's way to continue beyond Opeth but still it's all sounds like a PT record, guitarlike and vocally etc. Even with Akerfeldt on, Damnation suffers from sounding like PT / Blackfield. Unforgivable sin.

Would it be fair to say then, Akerfeldt & Wilson 'borrowed' from one another? What's worse they're copying the same cliches which is awfully boring.

Written by JoHn Doe on 16.03.2021 at 08:54

Lack of inspiration?! It's a unique album, I don't know other albums sounding like this. I'd rather listen to Damnation than many PT and Wilson solo albums.

Would 'seeking inspiration with Wilson breathing down Akerfeldt's neck' be an acceptable statement? This is not to devalue Akerfeldt's input but to point out who was pulling the strings on this record so it came out like PT album and less like pre-Blackwater Park Opeth.

I wouldn't be surprised if Wilson was brought in to the rescue to save Opeth from being flagged metal and to help it gain prog rock recognition. Many bands wish to escape the label and Opeth is no exception.

The problem is Opeth used to be unique in their humble beginnings, they had a soul, which they lost while trying to be a 70s prog band with metal influences, not the other way around. Personal disclaimer: I'm no fan of post Ghost Reveries snorefests.

Written by tsd on 16.03.2021 at 12:30

Interesting point about Camel, that may be the common denominator for Wilson's and Akerfeldt's influences.
Mind how the albums where Wilson is producer sound like PT. Blackfield may have been Wilson's way to continue beyond Opeth but still it's all sounds like a PT record, guitarlike and vocally etc. Even with Akerfeldt on, Damnation suffers from sounding like PT / Blackfield. Unforgivable sin.

Would it be fair to say then, Akerfeldt & Wilson 'borrowed' from one another? What's worse they're copying the same cliches which is awfully boring.

Written by JoHn Doe on 16.03.2021 at 08:54

Lack of inspiration?! It's a unique album, I don't know other albums sounding like this. I'd rather listen to Damnation than many PT and Wilson solo albums.

Would 'seeking inspiration with Wilson breathing down Akerfeldt's neck' be an acceptable statement? This is not to devalue Akerfeldt's input but to point out who was pulling the strings on this record so it came out like PT album and less like pre-Blackwater Park Opeth.

I wouldn't be surprised if Wilson was brought in to the rescue to save Opeth from being flagged metal and to help it gain prog rock recognition. Many bands wish to escape the label and Opeth is no exception.

The problem is Opeth used to be unique in their humble beginnings, they had a soul, which they lost while trying to be a 70s prog band with metal influences, not the other way around. Personal disclaimer: I'm no fan of post Ghost Reveries snorefests.

You say " Wilson breathing down Akerfeldt's neck" - well, I've never heard or read about any conflict between the two while making this album.

Damnaion is a unique album in Opeth's discography, I don't think it can be repeated. I love the songwriting on it. I'm surprised you say this album got no soul, I find it very expressive, but then again people feel things differently, sorry for stating the obvious.

I understand listeners complaining about Opeth's last three albums for doing the retro-prog sound, on the nose that is, but Damnation is not that, the Latimer/Gilmour guitar work never bothered me. There is a song on Pale Communion that is a Moody Blues pastiche or homage, bothered me a lot. Oh well...

Written by JoHn Doe on 16.03.2021 at 13:00

You say " Wilson breathing down Akerfeldt's neck" - well, I've never heard or read about any conflict between the two while making this album.

Damnaion is a unique album in Opeth's discography, I don't think it can be repeated. I love the songwriting on it. I'm surprised you say this album got no soul, I find it very expressive, but then again people feel things differently, sorry for stating the obvious.

I understand listeners complaining about Opeth's last three albums for doing the retro-prog sound, on the nose that is, but Damnation is not that, the Latimer/Gilmour guitar work never bothered me. There is a song on Pale Communion that is a Moody Blues pastiche or homage, bothered me a lot. Oh well...

'Breathing down his neck' as in supervising closely to the point of full control. And Wilson does this very well, often sacrificing what individual artists have to offer.

Losing soul is about dropping whatever original a band has to offer and trying to follow in one's idols footsteps too much. The style drop for Opeth was a gradual one, but things really got worse after this record. But for Damnation, Opeth went the full hog and wallowed in shameful copying of inspirations. It may well have been a lithmus test how their fanbase would take it. I don't blame them - perhaps the death metal driven style showcased on Morningrise or Still Life did not sound refined enough to make $$. So let's make prog, for that's where the money is.
Granted, Opeth isn't the only one culpable.

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.

Also, the 'shameful copying' and 'unforgivable sin' - a bit melodramatic

Written by musclassia on 16.03.2021 at 13:41

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.

Let's keep the filler in, prolong the songs and cash in on two albums released within the course of 6 months, and see how our fanbase will take it. Creative decisions act as way too convenient excuses to make $$, there is nothing cynical to see through the business decision.

There are more honest, less money grabbing ways to handle such experiments, Moonspell did it with their 2012 Alpha Noir/Omega White, adding their 'experimental' (although in reality, not such much) effort as a bonus disc.

Oh and I do enjoy both PT and Opeth but not exactly where they sound like copies of one another.

Written by tsd on 16.03.2021 at 13:33


'Breathing down his neck' as in supervising closely to the point of full control. And Wilson does this very well, often sacrificing what individual artists have to offer.

Losing soul is about dropping whatever original a band has to offer and trying to follow in one's idols footsteps too much. The style drop for Opeth was a gradual one, but things really got worse after this record. But for Damnation, Opeth went the full hog and wallowed in shameful copying of inspirations. It may well have been a lithmus test how their fanbase would take it. I don't blame them - perhaps the death metal driven style showcased on Morningrise or Still Life did not sound refined enough to make $$. So let's make prog, for that's where the money is.
Granted, Opeth isn't the only one culpable.

Like I said, I do not know of Wilson being a control freak as a producer. For example, he produced and played guitar on two Fish albums, never read Fish complaining or anything. He also produced a Marillion album (marillion.com 1999). No complaints. Maybe you know something I don't.

Shameful copying on Damnation?! Not yet IMO, not on Damnation. The albums from the 2020s, maybe, although the word "shameful" is very harsh if you ask me.

I also do not know if going prog can be called selling out.

My favorite Opeth works are their 90s albums, Damnation and Heritage. Call me a weirdo, I won't even get upset.

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.