Band:	Opeth
Album:	Deliverance
Style:	Extreme progressive metal
Release date:	November 12, 2002
Guest review by:	Justin

01. Wreath
02. Deliverance
03. A Fair Judgement
04. For Absent Friends
05. Master's Apprentices
06. By The Pain I See In Others

Sweden's premiere progressive black metal act Opeth have unleashed their most anticipated release to date, their sixth album, Deliverance. This release marks the first part of a projected two album instalment, with the second part Damnation due to be released in March.
Opeth first came into prominence with their fourth release Still Life back in 1999. But it was the follow up Blackwater Park in 2001 that really broke the band into the mainstream. So with expectations on high, Deliverance has to deliver the goods. And thankfully, the album is right up there as one of their best to date. Opeth have been reluctant to vary their unique style over their six albums [not to mention criticised], but there are some very noticeable changes within Deliverance.

The opening number ?Wreath? is both intense and without a doubt one of the heaviest moments in Opeth's recent history. Vocalist and guitarist Mikael Akerfeldt utilizes his best death metal growl throughout the track, while Martin Lopez's drum work simply amazes throughout the album. There's a great melodic solo around the three quarter mark, while it's only towards the end where there's any sign of letting up. No time is wasted as the title track soon follows up with the same aggressive path set before hand, but with melodic softer moments punctuating the heavier moments. There's more variation throughout this track, and is closest as the band gets to Blackwater Park. There's more than a hint of Steve Wilson's [Porcupine Tree] influence towards the end of the track too with the use of piano and the repetitive guitar riff. The sombre ?A Fair Judgement? has Steve Wilson stamped all over it, while still retaining the all-important Opeth sound. The doubled up vocals work remarkably well, proving Opeth's subtle moments of progression. After the short acoustic ?For Absent Friends? [the only track under the ten minute mark], the band return with the slow and heavy bludgeon of ?Master's Apprentices?. The blend of acoustic passages and brutal black has been perfected by Opeth in the past, but this track certainly seems to widen the gap between the extremes and pull them together at the most crucial of moments. The grand finale ?By The Pain I See In Others? is one of the most experimental numbers in Opeth history. The use of effects for Mikael's vocals is strange to say the least, while the many sections that make up the song [like the odd waltz breakdown half way through] seem to flow effortlessly, even though in theory it shouldn's.

Deliverance is by no means an instant album, but then again, which Opeth album is? What are apparent though, are the remarkable precision of the musicianship, the production [from Opeth and Steve Wilson] and the amazing depth of Mikael's song writing. While many are claiming Deliverance fails to break new ground, I for one simply hear plenty of progression on the album. This album marks huge steps forward for the band, which in turn will on put more heighten awareness for their next release in March.