[Bullseye]

Same here. My name's gonna be on that album as well. 
 
Can't wait for it
 
Quote:

My name is on it. I thought it was next week. Wow. Did you hear the other song on Pitchfork?

 

 
 

 

[Trogdor]

New Vektor album has been posted (its on Spotify as well) here.

 

[SoupRKnowva]

Quote:

My name is on it. I thought it was next week. Wow. Did you hear the other song on Pitchfork?

haha my name will also be on it, but yeah, its official release is next week, but the preorders all shipped today, they were putting up tons of pictures sunday night on facebook of them getting everything all packed and he commented about being in line at the post office today lol

 

[Angelbelow]

Quote:

Opeth's new album sucks green donkey dicks! End of story.

 
I gave a it a few goes around and I couldnt stand it. I also think the album is pretty bad by both metal and progressive rock standards. It actually sounds like a rip off of Insurgentes. Maybe I'm too biased or too harsh but to me, its not even melodically catchy enough for me to keep listening. I at least thought damnation was pretty catchy, so I still listen to that cd from time to time.

 

[PleasantNoise]

Quote:

 
I gave a it a few goes around and I couldnt stand it. I also think the album is pretty bad by both metal and progressive rock standards. It actually sounds like a rip off of Insurgentes. Maybe I'm too biased or too harsh but to me, its not even melodically catchy enough for me to keep listening. I at least thought damnation was pretty catchy, so I still listen to that cd from time to time.

I said this to someone else already. If you want to appreciate Heritage as an album, you should Listen to Jazz, or Learn an instrument (piano, classical guitar, or Electric guitar (properly, not just playing half-arsed covers)
Then you'll understand the album, it is much more of an album than people seem to be seeing, I'm not sure why people miss it completely, maybe they're too busy b**ching about it to actually stop and listen, or maybe they honestly don't hear it. Which I find strange, but oh well, their loss.

 

[Vonx]

Quote:

I said this to someone else already. If you want to appreciate Heritage as an album, you should Listen to Jazz, or Learn an instrument (piano, classical guitar, or Electric guitar (properly, not just playing half-arsed covers)
Then you'll understand the album, it is much more of an album than people seem to be seeing, I'm not sure why people miss it completely, maybe they're too busy b**ching about it to actually stop and listen, or maybe they honestly don't hear it. Which I find strange, but oh well, their loss.

Baha, that is such a pretentious and incorrect thing to say. I've been playing the drums for 12 years, practically since i developed a conscious. 
 
I originally got into progressive death metal because of the complex polyrhythm's and off-time measures that drummers commonly did, and for years, I couldn't stand the death metal vocals so much that I would dig for instrumentals to play along to, but death vocals have since grown on me and I actually enjoy it now, when it is done correctly.
 
On top of that, Jazz and Jazz-influenced hip/trip hop is my most adored kind of music, and I do a bit of off-shoot jazz influenced trip hop producing in Fruity Loops.
 
It is because of how well I understand measures and structures of music that I am able to determine that Heritage was hastily and untastefully produced. 
 
Part of that is subjective, but I've built a pretty discerning ear to musical structure over the years, especially since being a drummer means you are technically the human metronome of the band.
 
I started with jazz percussion 10 years ago and now own two drumsets, an old school vintage oak Rogers 8 tom kit, and a Roland vPro TD-20 electronic kit. 
 
It's not about "missing" the material, it's about not enjoying it. I think you should investigate into your soul whether you actually liked the Heritage album, or if you only "appreciated" it, because there is a pretty fine line between the two. 
 
If you did, cool, but to say that someone isn't musically inclined enough to enjoy the complexity of it is purely pretentious, and frankly, wrong. 
 
I have to have that argument with a lot of "audiophiles" too, and also question whether they listen to music because they enjoy it or if it's merely another piece of test equipment for their gear. 

 

[Astrozombie]

That's wonderful, i stop by and there are other Opeth non-believers

But i'm not going down that road..............
 
I just wanted to say that i have now finally discovered Summoning, they were always a band that i knew i should check out because it will probably be right up my alley, but i just never did. And now with my Lux + CMoy = Magnifique!

Also check out KSCIAA channel on youtube, that guy has a ton of good bands.

 
Quote:

Wrong. Those are bad albums in any genre. They're lazy, boring efforts designed to appeal to a mainstream audience. Metallica didn't slow down and crap out to satisfy some inner artistic itch to play blues rock. They did it for a cash grab, and it worked.

Not to mention Opeth going to Roadrunner records and now play Amphitheaters with insane ticket prices............but no i didn't want to say anything *bites tongue*
 
 

 

[Vonx]

Quote:

Reminds me of that band that used to be progressive death metal and went all snoozerock on us. You know, Opeth. 
 

 

lol, the bitter truth

 

[PleasantNoise]

Quote:

Baha, that is such a pretentious and incorrect thing to say. I've been playing the drums for 12 years, practically since i developed a conscious. 
 
I originally got into progressive death metal because of the complex polyrhythm's and off-time measures that drummers commonly did, and for years, I couldn't stand the death metal vocals so much that I would dig for instrumentals to play along to, but death vocals have since grown on me and I actually enjoy it now, when it is done correctly.
 
On top of that, Jazz and Jazz-influenced hip/trip hop is my most adored kind of music, and I do a bit of off-shoot jazz influenced trip hop producing in Fruity Loops.
 
It is because of how well I understand measures and structures of music that I am able to determine that Heritage was hastily and untastefully produced. 
 
Part of that is subjective, but I've built a pretty discerning ear to musical structure over the years, especially since being a drummer means you are technically the human metronome of the band.
 
I started with jazz percussion 10 years ago and now own two drumsets, an old school vintage oak Rogers 8 tom kit, and a Roland vPro TD-20 electronic kit. 
 
It's not about "missing" the material, it's about not enjoying it. I think you should investigate into your soul whether you actually liked the Heritage album, or if you only "appreciated" it, because there is a pretty fine line between the two. 
 
If you did, cool, but to say that someone isn't musically inclined enough to enjoy the complexity of it is purely pretentious, and frankly, wrong. 
 
I have to have that argument with a lot of "audiophiles" too, and also question whether they listen to music because they enjoy it or if it's merely another piece of test equipment for their gear. 

I don't listen to music to test my gear, I listen to music for the shear joy it brings, The gear is only to enhance that feeling, whether it be placebo, or not, I don't care.
I would say that after listening to Heritage 10 or so times, I enjoy it, I wouldn't listen to it if I didn't,
I don't listen to music for it's technical merits as such, that seems wrong, it would be like calling a piece of engineering wonder art, it is impressive, but surely not art, well actually that is arguable....

I play guitar, but I have a strange outlook on it, I will happily learn theory, but then I am reluctant to apply it to music, as it sort of defeats the purpose of its wonder, by breaking it down to a measurable thing.
In saying that, I have tried, and failed at writing music, as I'm constantly torn by the thought that what I write is not musically valid, so people won't like it, and that I can't just paint blindly as such, nor can I paint by number, I have to find a balance, that of logic and emotion, something I cannot do, as I keep those things strictly separate in my mind.
All the theory in the world, will never change the way I ignore its presence when listening to music, I just can't sit there listening and think 'oh thats a nice chorus' or 'thats an interesting use of diminished arpeggios over a syncopated beat' it just totally ruins music for me.

I really need to get a better grip on music, I hate the way I see it, purely for the fact that I can't create my own music as long as my state of mind remains as it does. but at the same time, a new state of mind, would result in a new state of listening, something I don't want.

Music is a strange mess of physics, abstract emotion, natural feel, awe, wonder, memories, cultures, and so many other things, all colouring it differently for each listener. I can't get my head around it in a satisfying way. I'm not even sure what my point is anymore. I might just finish with a quote from a song I like to sum up. 'Delirium Scribbles, Thoughts Onto Page'  Huge Hammers- The Safety Fire.

 

[Vonx]

Quote:

I don't listen to music to test my gear, I listen to music for the shear joy it brings, The gear is only to enhance that feeling, whether it be placebo, or not, I don't care.
I would say that after listening to Heritage 10 or so times, I enjoy it, I wouldn't listen to it if I didn't,
I don't listen to music for it's technical merits as such, that seems wrong, it would be like calling a piece of engineering wonder art, it is impressive, but surely not art, well actually that is arguable....

I play guitar, but I have a strange outlook on it, I will happily learn theory, but then I am reluctant to apply it to music, as it sort of defeats the purpose of its wonder, by breaking it down to a measurable thing.
In saying that, I have tried, and failed at writing music, as I'm constantly torn by the thought that what I write is not musically valid, so people won't like it, and that I can't just paint blindly as such, nor can I paint by number, I have to find a balance, that of logic and emotion, something I cannot do, as I keep those things strictly separate in my mind.
All the theory in the world, will never change the way I ignore its presence when listening to music, I just can't sit there listening and think 'oh thats a nice chorus' or 'thats an interesting use of diminished arpeggios over a syncopated beat' it just totally ruins music for me.

I really need to get a better grip on music, I hate the way I see it, purely for the fact that I can't create my own music as long as my state of mind remains as it does. but at the same time, a new state of mind, would result in a new state of listening, something I don't want.

Music is a strange mess of physics, abstract emotion, natural feel, awe, wonder, memories, cultures, and so many other things, all colouring it differently for each listener. I can't get my head around it in a satisfying way. I'm not even sure what my point is anymore. I might just finish with a quote from a song I like to sum up. 'Delirium Scribbles, Thoughts Onto Page'  Huge Hammers- The Safety Fire.

Haha, I don't think you even know what your talking about anymore. 
 
Wait, I agree with the part I highlighted. Let me settle something that you may think about me, I don't try to tear down the structure of music or over classify things, I've just found certain things in music that sounded cool, and learned how to play them from ear. 
 
I didn't really even know what I was playing until i went to fundamental drum school where they teach you the techniques as you go, and I recognized some of the things I used to play by ear, and learned what their names were.
 
I totally agree with that, I hate when people over-analyze and break things down into a million pieces, it just ruins the piece as a whole IMO.
 
I can recognize a technique if I put an ear to it, but I only do that when I'm trying to learn the song and need to figure out what their doing so I can recreate it. 
 
 
 

 

[Angelbelow]

I play many instruments (not the guitar though.) I grew up playing instruments in and out of school (I think all metal fans likely have some musical background or else we would be more inclined to enjoy more straight forward music). I wasn't impressed with heritage at all. And btw, I thought their older albums had stronger Jazz influences than Heritage. But i'll admit im not the biggest jazz listener, my genres are metal and classical.
 
However, I didn't say that I didn't appreciate Opeth as musicians, hell they do it for a living, they are far better musicians than I'll ever be. But I didn't like this particular album, I found it uninspiring and didn't enjoy the melodies enough to be motivated to keep listening.
 
I've seen a number of posts like yours on various forums. Something along the lines of "No one sees how awesome this album it is, nobody hears what I hear or appreciates it." Ive always wondered if people like you actually truly loved the album to the point where they have it on repeat or they just see an opportunity to be anti-trend.
 
Quote:

I said this to someone else already. If you want to appreciate Heritage as an album, you should Listen to Jazz, or Learn an instrument (piano, classical guitar, or Electric guitar (properly, not just playing half-arsed covers)
Then you'll understand the album, it is much more of an album than people seem to be seeing, I'm not sure why people miss it completely, maybe they're too busy b**ching about it to actually stop and listen, or maybe they honestly don't hear it. Which I find strange, but oh well, their loss.

 

 

[b0ck3n]

I know I'm probably a little late to the party, but after hearing 'Heritage' a couple of times now I feel I have to comment on it.
 
I've been a huge Opeth fan ever since I first heard their demo (prior to the release of Orchid). The Porcupine Tree influence was evident from the get go, and I really loved the experimental sound and their application to death metal. I thought Opeth got stronger from then on with every release until peaking, IMO, in '99 with 'Still Life', which remains my favourite album and probably always will be. They basically rose to death metal stardom with the release of 'Blackwater Park', and I can tell you from personal experience that it got to Åkerfeldt's head. 'Deliverance' and 'Damnation' were both extremely good albums, and everyone who's followed the band know how hard they worked on those recordings. Everything since hasn't been recorded with the same effort.
 
'Ghost Reveries' was a huge let down for me, but it had its moments. 'Watershed' was worse, and the only song I enjoy off it really is 'Porcelain Heart' - not because it's simple and not as progressive as the rest of the album, but because it's actually accessible and musical, and well thought through. 'Heritage' features piece after piece of incoherent jam material, there's not a memorable song on the album, and Åkerfeldt's vocals aren't strong enough carry it.
 
There's no cred in a death metal band (however progressive they might be) trying to copy what the great prog bands of the 70s did if it's not done properly. Åkerfeldt has brought in new prog-minded band members and turned what used to be a great band into a joke. Just as he shouldn't have released his cover of 'Den ständiga resan' under the band's name he shouldn't have released 'Heritage' with Opeth. He's just riding on the band's wave of success to sell his useless version of 70s prog to loyal fans.

 

[Trogdor]

I know I'm probably a little late to the party, but after hearing 'Heritage' a couple of times now I feel I have to comment on it.

I've been a huge Opeth fan ever since I first heard their demo (prior to the release of Orchid). The Porcupine Tree influence was evident from the get go, and I really loved the experimental sound and their application to death metal. I thought Opeth got stronger from then on with every release until peaking, IMO, in '99 with 'Still Life', which remains my favourite album and probably always will be. They basically rose to death metal stardom with the release of 'Blackwater Park', and I can tell you from personal experience that it got to Åkerfeldt's head. 'Deliverance' and 'Damnation' were both extremely good albums, and everyone who's followed the band know how hard they worked on those recordings. Everything since hasn't been recorded with the same effort.

'Ghost Reveries' was a huge let down for me, but it had its moments. 'Watershed' was worse, and the only song I enjoy off it really is 'Porcelain Heart' - not because it's simple and not as progressive as the rest of the album, but because it's actually accessible and musical, and well thought through. 'Heritage' features piece after piece of incoherent jam material, there's not a memorable song on the album, and Åkerfeldt's vocals aren't strong enough carry it.

There's no cred in a death metal band (however progressive they might be) trying to copy what the great prog bands of the 70s did if it's not done properly. Åkerfeldt has brought in new prog-minded band members and turned what used to be a great band into a joke. Just as he shouldn't have released his cover of 'Den ständiga resan' under the band's name he shouldn't have released 'Heritage' with Opeth. He's just riding on the band's wave of success to sell his useless version of 70s prog to loyal fans.

I think this sums up the antithesis of what I think Heritage is all about. To each his own.

 

[bcasey25raptor]

Quote:

I know I'm probably a little late to the party, but after hearing 'Heritage' a couple of times now I feel I have to comment on it.
 
I've been a huge Opeth fan ever since I first heard their demo (prior to the release of Orchid). The Porcupine Tree influence was evident from the get go, and I really loved the experimental sound and their application to death metal. I thought Opeth got stronger from then on with every release until peaking, IMO, in '99 with 'Still Life', which remains my favourite album and probably always will be. They basically rose to death metal stardom with the release of 'Blackwater Park', and I can tell you from personal experience that it got to Åkerfeldt's head. 'Deliverance' and 'Damnation' were both extremely good albums, and everyone who's followed the band know how hard they worked on those recordings. Everything since hasn't been recorded with the same effort.
 
'Ghost Reveries' was a huge let down for me, but it had its moments. 'Watershed' was worse, and the only song I enjoy off it really is 'Porcelain Heart' - not because it's simple and not as progressive as the rest of the album, but because it's actually accessible and musical, and well thought through. 'Heritage' features piece after piece of incoherent jam material, there's not a memorable song on the album, and Åkerfeldt's vocals aren't strong enough carry it.
 
There's no cred in a death metal band (however progressive they might be) trying to copy what the great prog bands of the 70s did if it's not done properly. Åkerfeldt has brought in new prog-minded band members and turned what used to be a great band into a joke. Just as he shouldn't have released his cover of 'Den ständiga resan' under the band's name he shouldn't have released 'Heritage' with Opeth. He's just riding on the band's wave of success to sell his useless version of 70s prog to loyal fans.

I agree with all of this accept that i loved ghost reveries.
 

 

[b0ck3n]

I love 'Weakness' on Damnation. It was the least "Opeth" song they'd ever recorded, but it was a great track and had substance to it. 'Heritage' is just a bunch of prog clichés thrown together at random - no train of thought, no substance. And it's become painfully obvious that Åkerfeldt doesn't know his own limitations wrt his clean vocals, which he always put to good use in a tasteful manner before, but are now just another expression of his hubris.