Opeth are back, and this time with a vengeance. The skeptical ones who thought that the Swedes had lost touch with their death metal roots may want to rethink their opinions after listening to the band’s 6th offering Deliverance. Opeth originally intended to release two albums simultaneously. One being their mellowest and most laid-back album up to date entitled Damnation, whereas the other one more or less marks a return to their earlier and more aggressive work. Unfortunately, due to marketing-technical reasons, only the latter of the two is being released this year. But I am quite sure that this first new album will keep the fans happy and busy until the release of Damnation, which will be around March 2003.

With the first song “Wreath” kicking off intensely (Opeth at their heaviest!) the band leaves no doubt about their true intentions. Deliverance is going to be a lot colder, darker and louder than the previous two albums. Obviously all characteristic aspects of their unique style are also present on this new album. However the main difference to their previous work on Still Life And Blackwater Park is that the faster parts are much more intense and aggressive.

The transitions are therefore more abrupt and the overall atmosphere even bleaker. The length of the songs and their reduced number remind strongly of their illustrious second album Morningrise.

Since experimenting is the band’s middle name, it is a fact that with each new album Opeth has also found new ways to surprise their audience. This is of course no different on Deliverance. By using unexpected instruments like the bongos in “Wreath” and the organ in “By The Pain I See In Others”, as well as experimenting in the musical direction (incorporating ‘unusual’ melodies like an English waltz, focussing more on Martin Lopez’s stunning drumwork and the dynamics of the songs in general), the Swedes have again managed to progress and develop. In this respect they still are one of the most unique bands in the scene and remain miles ahead of their competitors, even if their tricks may begin to sound a tiny bit familiar, and the intro of “Masters Apprentices” does sound dangerously like My Dying Bride.