Orchid

Ah yes, Opeth. What can be said about them that hasn't been said before? Beloved by many, hated just as much, the Swedish group has managed to both captivate millions worldwide with their blend of heavy, aggressive, dark death metal, with proggressive elements and folk sensitivities, just as much as they've managed to baffle and even infuriate those who find the contrasting influences within their ouvre as tiresome, boring, or just plain bad. I must admit I count myself in the second group: Opeth, simply put, is not for me. I simply cannot force myself to like their albums, as much as everyone tells me to give them repeated listens in hopes I manage to perceive what, to others, are "masterpieces" without pair in the metal world. I just plainly am unnable to find anything enjoyable in those subsequent albums.

All that is to say that, oh-surprise, what an unexpected turn of events it was that, upon listening to the band's debut album, I immediately fell deeply in love with it. A lot of this review, I have to admit, will be more skewed by personal opinion than any review has any right to be, in my opinion. But could you blame this idiot in love? I am OBSSESSED with tihs album. Every note, every arrangement, every riff, section, vocal line, harmony, bassline, drum beat, every second of it oozes perfection in a way I am yet to find again in any other album, by Opeth or otherwise (sorry, Morningrise lovers, but that one simply has none of the magic of this precious flower right here).

As I said above, Orchid stands as a completely different beast to the entirety of Opeth's discography, and even metal in general. It is a melting pot of influences and styles, yet it is also defiant of those at the same time. It is a death metal album, yet it refuses to add chunky or groovy riffs; it is a black metal album, yet it refuses to play dissonant minor chords and being non dynamic with its rhythm; it lacks blast beats all together (perhaps one of its trademark features), and barely features tremolo picking and rhythm guitar. Instead it opts for prog rock-like and folky interludes, clean singing, and counterpoint melodies being played at the same time by both guitarists and bassist, making all the riffs seem like three different songs being played simultaneously.

The compositions are bold and probably the most prog the band has ever done. All of the songs are extremely long, and are through-composed: that is, not a single riff repeats in the entirety of the album after its section is done. That makes the entire thing feel like a long, wild journey, which you never know where it will lead you next. If anything, it feels like a story, like a book a play, or a movie. Given the 60+ minute runtime, the movie analogy is not too far off; listening to Orchid is like sitting down to enjoy a good, dark, and melancholic movie.

From "In Mist She was Standing" to "Silhouette" to "Forest of October" to "The Apostle of Triumph", Opeth hits us over the head with completely unexpected choices, rhythms, riffs, styles and melodies that us less-creative people could never dream of including in a song, let alone putting them all in the same album: the Maiden-esque intro on "In Mist...", the atmospheric interlude in "Under the Weeping Moon", the piano interlude that is "Silhouette" (played by drummer Anders Nordin, no less!), the epic "my blaze travel the last universe" verse withi ts accompanying riff in "Forest...", the beautiful melodies in the acoustic middle of "The Twilight is my Robe", which in my opinion features the most beautiful vocal line in the entire album (and probably one of the best ever, if I could say so), the soothing "Requiem", and, most bold and strange of all, the danceable violin break in "The Apostle..." (actually played by Mikael on his guitar, while messing around with the volume knob), are but mere highlights from this album that show the true genius of a band in their prime.

The production, in charge of Swedish metal legend Dan Swanö, is rather thin and dry, with lots, lots of reverb. Many may find this approach to be aput off, but in my opinion it serves to give Orchid mmore of its own identity. In a way, the escessive reverb gives tihs a sort of "live" or "rehearshal room" atmosphere, as if you were in the band's garage hearing them while they practice; this level of intimate sounding stuff is, I must admit, my favorite type of production. The thin, reverb-filled guitar tones is reminiscent of the band's 70's influences, black metal and traditional metal, without really sounding too much like either. Anders Nordin's kit sounds clear, and every hit of this beast of a drummer is audible and on point. The bass, handled by the great Joe di Farfalla, is not always too audible, given the aforementioned thin sound of the album, but whenever it pops up, it delivers some amazing counterpoints to the main melodies and a couple of almost lead parts, with anequally amazing fretless bass sound. Mikael's vocals are more shierk-like on this one than they would be in later endeavors, and are oozing with reverb (as everything else in tihs album).

I feel really sad none of their following albums hve the same energy or, to be frank, are not good at all -in my opinion-, specially compared to this masterpiece, unmatched still to this day, many, many years later, by Opeth or any band that has appeared since. I would give it a 200%, but alas, I think the current rating says enough about what this beast of an album is.

Review originally posted in albumoftheyear.org

This album was my start with Opeth, and it wasn't easy at all. I mean, all their works create a challenge for a listener, but such masterpieces as Blackwater Park and Ghost Reveries are enjoyable from the first listen. And everything is far more challenging with Orchid. The band hadn't yet developed many of their musical ideas, but it is evident that were going for as many riffs as possible. The album is filled with diverse riffs, acoustic passages, and heart-breaking guitar solos, and all these elements go with little to no transitions. Just try to count how many times they change the rhythm and the melodies completely throughout "In Mist She Was Standing." That's the point! Åkerfeldt and co. wanted to create complex compositions, and they did it well in a rather chaotic manner. Still far from the hysteria of "The Red in the Sky is Ours" by At the Gates, but already chaotic and seemingly disorganized.

It's not a coincidence that I have mentioned the debut of the Gottenburg melodeath nobility. "Orchid" is largely influenced by the so-called Gothenburg sound. It is filled with those buzzing early-melodeth riffs and atmospheric guitar solos peculiar to such bands as early In Flames, At the Gates, Gates of Ishtar, and Dark Tranquility. The somewhat grotesque and gothic atmosphere of the album also adds to this impression. It was something that would later evolve into a truly unique "opethish" atmosphere but things are still raw at "Orchid." What really makes the atmosphere of this album unique is its production. The sound is far from sterile as the guitars are buzzing, the bass sounds a little bit squeaky at times, and the growls are deep yet sound fully natural. Also, don't forget about ephemeral chorals ("The Forrest of October") and multiple acoustic or piano passages that create a truly impressive atmosphere.

But "Orchid" is not only about the atmosphere. It is also a stellar work musically. All these riffs may be hard to comprehend from the first listen, but during the second-third-fourth time, you start recognizing how brilliant and unique some of these riffs are. Dynamic, slow, epic - the album presents a whole variety of riffs. There are folkish melodies, seemingly inspired by Celtic motifs, lengthy jass passages, traditional death metal riffing, and ephemeral prog-rock melodies. Opeth manages to unite diversity and quality on this album. And don't forget about solos! I've already mentionedthat that they, somehow, remind me of early In Flames, At the Gates, Gates of Ishtar, and Dark Tranquility. But, in my humble opinion, Opeth deals even better in terms of delivering melodic and really touching solos than most picks on this list. And this already means so much! Just listen to the ending of "The Twilight is My Robe" for a vivid example! Finally, Åkerfeldt's growls are amazing, just as always. Actually, I feel really sad that he has abandoned extreme vocals. Still, we can hear the depth of his growls and some remarkably passionate screaming at "Orchid."

To sum up, "Orchid" is a hell of an album. It is not as mature as Opeth's further works, but it is still a masterpiece with its unique delivery and atmosphere. It was the album after listening to which, I found the further materials by this band much more understandable. A truly challenging opening to Opeth but the one that sets the right tone if you dedicate enough time to it. As for album highlights, it is very challenging for me to distinguish specific songs because all parts of "Orchid" are stellar. Still, I would probably go with "The Forest of October" as my favorite. An amazing ending and a truly divine atmosphere. Fortunately, it is October now, and I can easily go to the forest and enjoy this masterpiece in its natural habitat :)

May 15, 1995, was the day that Opeth came out with their first work called Orchid. I dare say that even in modern times, it still looks like an incredible introduction to their history, a debut album that put them on the map as a legendary band.

"In Mist Ella She Was Standing" shows her strength with an epic and powerful riff that continues to evolve. Opeth on this album proved to be a band that knows exactly how to make introductions to their songs. They don't get too long, they don't get boring because the construction of riffs and melodies is very good, not to mention the attention they add after the intro of each song.

n addition to that in this work you can already see the first characteristic touches of this band. Repeated riffs, not so derivative structure, pauses with acoustic or slow sections to add melancholy or more substance to the song. As in the second song "Under the Weeping Moon" there is a soft beginning but with a quite intriguing riff, which then evolves into a devastating and emotional sound. In fact the style of composition in the guitar melodies are quite similar to Katatonia, which doesn't surprise me and partly makes me enjoy it even more. I didn't mention it in previous reviews but Katatonia's Dance of Decembers Souls is another one of those records etched in my soul.

I can affirm that "Silhouette" and "Requiem" have their reason for being, they are not about filler put there to give the album even more adornment. On the one hand, the thunderous piano of the first track mentioned above gives drama to this work and, on the other hand, there are the guitars in "Requiem" that placidly predict how the end is approaching.

I'll admit that the track I enjoy the most is "Forest of October" where there are these epic guitar riffs and solos and they don't go too long, not to mention the sections where Mikael does those powerful roars, that's right when the entire musical level of Opeth shines at its maximum splendor. Yes, he knew exactly where to put his voice. I don't feel something similar with "The Twilight Is My Robe" that although its intro is quite epic, the rest of the song doesn't get me very excited, but it's not a bad song. Something similar happens to me with the last piece called "The Apostle in Triumph" where there are both emotional and brutal riffs, but it left me with little taste, as if something else was missing to stand out.

Orchid is my second favorite Opeth album and with so many years that have passed, I still have an almost identical opinion. It's an excellent debut, which was actually close to being perfect.

By 1995, death metal had expanded to encompass many variations. It was being infused with melodies, mixed with jazz, blended with technical guitar and drum work, and brutalized with self-caricaturing guttural vocals. These subgenres were aptly named and easily distinguished from one another, and bands were often identified by whether they sounded more American or Swedish.

Amidst this clattering racket of blast beats and disturbing lyrical imagery, Opeth emerged completely out of nowhere. Having never so much as distributed a demo to the general public, the four-piece planted themselves firmly as staples of Swedish death metal that countered the commercialization of the burgeoning "Gothenburg sound" of melodic death metal like In Flames and Dark Tranquility. Their style wasn't completely new; fellow Stockholm residents Katatonia had released their debut nearly a year and a half earlier, but they had taken a much more gothic and dark approach than Opeth had. When Opeth, headed by Mikael Åkerfeldt, released Orchid, they changed death metal forever.

The flower-laden album cover speaks a lot about the contents of the record. It's a much politer album than anything found in the discographies of the well-established "traditional" death metal bands, and it contains some beauty that can be realized by a truly appreciative listener. So few bands of the subgenre were moving past their relentless-but-short bursts of speed and aggression and embracing epic composition, lyrical riffs, and extended song lengths the way Opeth was. They were truly different.

The album kicks off with "In Mist She was Standing," my personal favorite song from Orchid. Although this song gives a good preview to what the remainder of the album will bring, it would not be a great pick for someone who wished to get a good idea of Opeth's discography as a whole; in fact, very few of the leanings on Orchid remained dominant on the following year's album Morningrise. Many of the riffs throughout the record are very reminiscent of the whole NWOBHM movement, rather than the black metal Opeth would later draw many of their riffs from. Though they did later change styles somewhat, Åkerfeldt's passion for dueling and harmonizing guitar parts, which can be heard in even the band's most recent prog-rock tunes, makes its first appearance here.

Opeth's most signature and important elements, in terms of songwriting, are definitely things they have kept since the beginning. The songs don't follow a traditional structure, and thus it can often be hard to predict what turn a song will take at any given moment. It's very noticeably influenced by progressive music. There are a decent amount of acoustic interludes, notably in the opening track and "Forest of October." The songs here are ridiculously long, and Opeth eventually would cut down their average length so as to accommodate more actual songs and less filler. Speaking of filler, there's a couple of 'em seen on Orchid; "Requiem" and "Silhouette," the latter of which is a very lengthy piano piece. While not necessarily bad, they don't really add anything to the listening experience and could be done without.

I think Orchid is a very solid album, especially for a debut album from a new band trying out a completely original style. Although maybe not as well-executed as some of their later albums, it definitely has earned its place in death metal and progressive metal history. I would recommend it, although I know it's not for everyone.

Highlights: "In Mist She was Standing," "Under the Weeping Moon," and "Forest of October"

I will just start this off on one point. You have to be absolutely crazy to not acknowledge this as one of the greatest metal debuts in history. The musicianship that is put into this album is simply astounding, especially coming from the condition that Opeth was in during it's beginning era. This album is just simply nothing more than a masterpiece and here is why.

The orchid is a plant notorious for being diverse in its own shape and color and that is definitely what is going on here with Orchid probably being the most diverse of Opeth albums. While having a very similar sound to the early Amorphis and Katatonia albums, it does not stray from being unique whatsoever. The progressive influence is very limited in this album and displays more of a melodic, almost black metal direction rather than their later brand of prog rock/death metal that has achieved most of their recognition. The keyboards are left out to create a more majestic, raw, atmospheric sound, the clean vocal segments are limited to a certain extent, and the calmer jazzy prog rock parts are replaced with folk-influenced classical guitar playing, similar to that of what you hear in Ulver's second album, Kveldssanger.

To describe what listening to this album really feels like, there is a lot of stuff going on. Throughout the entirety of the album theres always 2-3 different guitar parts going on at the same time. So just about everytime you listen to any of the songs on the album it's not that hard to get more in depth in your listening and find new pieces of the music you didn't know were there. And when none of that is going on it's either classical guitar time or time to listen to some hella basslines (which the basslines are really one of the few real prominent signs of prog throughout). These things are especially prominent in songs like The Twilight is My Robe (which is the best song on the album imo) and The Apostle in Triumph.

On further explanation, what exactly makes this album so good? Is it the raw majestic beauty? The warm 90's quality melodic death metal sound? The strangely black metal-esque vibes and atmosphere? Or simply the fact that this is not the Opeth that became prog-legend status like any common discog browser might consider at first glance? Obviously I'm gonna say all of the above becuase this album is fucken beastmode but i think what makes this album truly great is the lack of maturity that this was created with. I may sound crazy for saying that but this was at a time that Opeth was coming outta the stage of being the worst band in Sweden and when this album dropped I can only imagine how shocked some of the locals were. The fact that they were just teenagers when they wrote this is astounding. And lyrically, even the rather immature lyrical theme of satanism and occultism (which is almost innevitable in 90s Scandinavian black metal) is balanced out with almost ethereal wording and not what you'd expect from a buncha teenagers in mid-90s Sweden.

I'd recommend this album to anyone into the likes of the earlier works of bands like Katatonia and Amorphis especially, Dissection, In Flames, and even a bit of Agalloch as well. Orchid is truly a deserved classic and personally the most underrated among Opeth albums. Definitely a big change in sound that achieved what it set out to do and lived up to its own name.

Ah, Opeth! I have to admit, this is my favourite band. Wait, don't go! I won't be biased, I promise! Phew... So, Opeth - we all know them, we're all familiar with why they're so big, so there's no need for me to say anything regarding that matter. Their debut, as beautiful and innovative as it may be, is still an unpolished gem. I mean, what did you expect from a bunch of kids from Scandinavia, to come up with a masterpiece debut? *cough* Emperor *cough* Nevermind, well, let's get started, shall we?

Now, I am uncertain whether it is because of monetary reasons or because of the band starting out as a sort of black metal thing (perhaps both) but the rasp sound here just doesn't do it. Don't get me wrong, there's some amazing lo-fi stuff out there (In The Nightside Eclipse, Blood Fire Death) but the fact this band has a more than basic use of acoustic guitars compared to other acts and traditional melodies just doesn't work well with this particular production quality. That is also the case with Morningrise. But if you are willing to ignore that, then the guitars are actually great, especially the harmonies. You see, most bands simply write a riff and record the same thing on both guitars, that's it. Rarely do you get the two guitarists doing different things. The case with Orchid is exactly the latter. So, not only do you get these beautiful folk-inspired melodies, but you've got two of them AT ONCE! This applies to both the distorted and the acoustic passages, neat, huh? And the bass is doing stuff, too (well, that was the most basic statement, ever), adding some needed low-frequency moments to contrast the predominantly high-pitched riffing. The drums don't really have anything special about them, they're good and that's that. The vocals! The harsh ones are half the reason Orchid and Morningrise are considered closer to black metal than to death. Simply these are not the growls that go with the harsh palm-muted riffs present in most of DM, but the more high-pitched screams that work in conjunction with tremolo and melodies. And while the "shrieks" are nothing spectacular, the soft singing is heavenly. Mikael has stated he never really considered himself a vocalist, he always thought of himself as "just the guitarist". Ironic, considering his voice is one of the most beautiful in metal. He is no Bruce Dickinson or King Diamond, breaking glass the moment he opens his mouth, but the sound of his singing is charming.

Well, what is wrong with this album that triggered such a mixed reaction from my side? The overall composition, and particularly the transitions. A song is a musical piece that must contain multiple elements that either go together well simultaneously (harmonies, for example) or flow smoothly into one-another. That aspect is what really ruins the whole thing, the culmination of a developing musician - having bright ideas, but not really being able to put them together into one whole. This is an obstacle that most prog bands encounter and it is one that Opeth eventually got over. But the fact this is their debut and the guys actually lit the fire of something new should be taken into account. There are two tracks here that I can say are perfect from start to finish, the very dynamic The Twilight Is My Robe and the all-piano masterpiece Silhouette, the two flowers that outgrew the rest.

And here is the meaning behind the title of this review. Opeth's career is one pretty flower. It started its growth with the first two albums, reached peak beauty from Blackwater Park to Damnation and died with Watershed, only to rot and become the soil of what is now their modern music, another brilliant bouquet, but one that is just a memory of what once was. But not yet with the future, to conclude the past I will say the following: Opeth started as a black metal band with prog-rock influences, forging something new from the scrap steel that was the then extreme metal scene, and as with any blacksmith the first work is always rough around the edges, but still deserving of applause.

Although back in the early '90s, Opeth were a bunch of Swedish nobodies, they rose to become at one stage the premier progressive (melodic) death metal band in the world and now are one of the most persuasive arguments for an extreme metal fan to look back through obscure '70s prog and rock albums. Of course, these days my mum turns her head when walking past my door and asks - with only a small hint of guessing - "Is that Opeth?" To which I nod and she responds, "Not bad." However, you probably shouldn't read too deeply into that because my mum also really likes Sentenced (Ville Laihiala period) and can decipher Darkthrone's name from their logo (although, painfully, her first guess was 'Deepthroat'), so Opeth aren't exactly "mum music". On Orchid, the band's debut, we hear the first signs of the band's later tendencies towards softer material alongside some of their most extreme and progressive work.

What does seem surprising and really very encouraging about Orchid is that the now worn progressive death metal tag appeared fully formed, without any obvious clunkiness or primitivism. The four-piece had clearly spent enough time preparing these songs that they don't feel unprofessional or over-ambitious, although the length of the five core songs all touch 10 minutes, which might prove difficult for those used to Municipal Waste or Agoraphobic Nosebleed albums. Patience is key to getting the most out of these pieces, as is relaxing one's mindset on issues such as song structure and "heaviness", since there are next to no repeating parts (something the band would gradually introduce) and frequent digressions into softer territory, often atmospheric acoustic interludes or the instrumental pieces that form 'Silhouette' and 'Requiem'. The general pace of the music is also not exactly quick, whatever the abandonment of the opening to 'In Mist She Was Standing' might suggest, incorporating ideas from other early '90s genre-benders such as Amorphis and melodic doom inspiration from friends and compatriots Katatonia. As such, Orchid is anything but a straightforward album in terms of either style or songwriting, containing a great amount of detail and complexity.

The playing style adds to that complexity too, since many of Opeth's riffs adopt twin guitar features that had come to characterize My Dying Bride's sound a couple of years earlier, though in a very different mood. Here, the bounding opening of 'In Mist She Was Standing' will spark instant associations with folk music, while moments of 'Forest of October' venture close to black metal in their flurries of tremolo picking, despite never hinting at the savagery of the genre. The two guitars are often playing in tandem, though one tends to be given the upper hand and more of a lead tone with plenty of reverb, while the other reiterates the same theme more darkly and thoroughly. Johan DeFarfalla also provides a further diversion, clucking around breakdowns like a hyperactive hen and giving us a nice Killers-style bassline during 'The Twilight Is My Robe', staying prominent due to his activity and rather high-pitched contribution. Anders Nordin is no more lazy than the rest of his bandmates; however, a slightly flat snare sound disappoints in his area.

There are plenty of good moments in all of the songs, be that in terms of riffs, solos, or atmosphere, but not much in the way of vocal hooks as Mikael Akerfeldt had not yet taken to the practice of singing clean and certainly doesn't produce anything like a chorus. My pick for riffs probably goes to 'Forest of October', where there's a particularly delicious one about two and a half minutes in, although that would be forgetting the great mid-section of 'The Twilight Is My Robe'. As for atmosphere, the haunting drop into midnight suspense during 'Under the Weeping Moon' is very effective, plus 'Forest of October' has a feel of journeying to it that impresses almost as much as Katatonia's similarly-structured masterpiece 'Velvet Thorns (of Drynwhyl)'. Those regular forays into acoustic territory are somewhat pleasant, evoking pastoral imagery (I always feel like I'm outside when listening to this album) and adding a rise and fall to the mazy progressive metal, yet some of the transitions do feel sudden and in some songs too frequent to achieve the best effect. Having a close look at the edges of different segments and attempting to fit them more closely together might have led to a more unified final experience, though could also have nullified the relaxing drift of the album.

Orchid isn't a perfect album by any stretch, including as it does some forgettable sections and seemingly excess ideas; nevertheless it is a mostly well-executed sweep through an interesting and highly sensitive musical style that its creators use to explore both musicality and emotion in nearly equal measures. There is a large world to roam in its capacious 65 minutes and plenty of parts that you will be surprised to remember without too much effort. Opeth would do better, but this is certainly no failure.

Honestly I am not the greatest fan of Opeth; I do tolerate this band for the uniqueness of their music and their own style, which they have developed through the years of playing, but for me personally some of their albums are just too progressive (he). But saying that I must also mention that the early Opeth materials are just excellent and I really do like them a lot. And that especially includes “Orchid”, which is my favourite album of this Swedish band at all. “Orchid” may also sound too complicated and too progressive for some death metal fans, who rather seek for aggression and violence, rather than for the atmosphere and complicated song structures, so for them such lengthy songs, with many layers within each and so many different parts can be a little bit too much. But once you actually get to know “Orchid”, when you’ll let its atmosphere seize you, then I can assure you that “Orchid” will sound utterly exciting and fantastic.

Yeah, at the first listen you’ll know that “Orchid” is not an easy album. There are seven songs on it, with 65 minutes of music in total – and two songs are just a short instrumental interludes, so it gives well over 10 minutes per song. Opeth is well known for their love for progressive, classic rock and even if “Orchid” belongs to their most aggressive and death metal albums, it still holds a strong influence from the classic rock genres. If you listen to some more atmospheric parts, look at their song structures, which are like a maelstrom of riffs, with different moods, even different vocal styles, then this influence is very obvious. And so, this complexity means that “Orchid” is not an easy material, at least in the beginning. But give it few listens and you’ll realize that this CD (or LP) doesn’t want to leave your stereo and you keep playing it for days and days, as the music is just possessing and catchy, with awesome feeling and musicianship. It is also truly amazing how unique such band as Opeth was already on their debut album! They never had any demos recorded, but years of rehearsing gave such an effect that when listening to “Orchid” you’re left speechless, as it is near perfect in this sort of music. I guess that the only but quite minor fault of the album is that it is quite long and so it may be difficult to listen to the entire CD in one go and focus on it entirely. And so much is going on here that some of these arrangements or riffs can disappear and you can lose attention. So this album needs time and concentration.

The albums starts with a pure masterpiece, “In Mist She Was Standing”. This song has everything what I like about early Opeth: many great, more or less melodic riffs, great arrangements, including more progressive ideas, but not derived of the aggression… More so, there are many hooks, aggressive, but almost calm moments, which include also a use of acoustic guitar passages, a lot of variety… Yeah, it definitely is the best song from “Orchid”. Some people compare it to the early In Flames or Dark Tranquillity, but for me Opeth is way more interesting and fascinating. I can also even use a small comparison to Dissection’s “The Somberlain” LP… Sure, both are different musically, but somehow similar for the long and more complex song structures, use of melodies, so there are some similar patterns. Other band, which I somehow have in my mind is Edge of Sanity (for some obvious reasons). Yeah, “In Mist She Was Standing” is truly fascinating and amazing song. Listen to it on headphones, so you’ll be able to catch the guitar parts better, as well as the bass and other instruments, each playing truly awesome parts. Here the band shows their genius and this one particular song is almost kind of journey for the listener. I love it, personally; these melodies, acoustics, how everything evolves, these vocals of Mikael Akerfeldt. But I guess I could mention every song here and each would have something significant and memorable about it; even these interludes like “Silhouette”, which us a nice piano played interruption. I am not saying that everything about “Orchid” is perfect, as there are some more monotonous moments like in “Under the Weeping Moon” for instance, but it is nothing what would really disrupt me in listening and enjoying of the album, and besides, I really do like this acoustic fragment with clean vocals of Akerfeldt in this song… it definitely is one of the best motifs from the entire CD. Also “Forest of October” contains some of the most beautiful and sorrowful melodies of the whole album and it really is yet another truly memorable and also perfectly composed songs. Again it is also damn long, with 13 minutes of music, but just like in case of “In Mist She Was Standing” here you’ll also witness many different emotions and varied parts; from very aggressive to most melancholic, even enchanting and also acoustic fragments. Yeah, definitely it is my second favourite song on “Orchid”!

OK, I don’t think there’s a point in continuing writing this review. First, because no words can really describe this album fully and give it a full justice, no words can explain how fantastic is this music… It is all better to just listen to “Orchid” and let these sounds possess you. So, take this musical journey. In my opinion it for sure is one of the most significant Swedish records of the 90’s and maybe people not so often mention it among their Swedish favourites, some will probably consider “Morningrise” or “My Arms, Your Hears” to be better, but that is everyone’s own opinion. For me “Orchid” is Opeth’s number one album. Absolutely recommended perfect masterpiece.
Standout tracks: “Under the Weeping Moon”, “Forest of October”, “The Twilight Is My Robe”
Final rate: 90/100

It starts interestingly enough. You see the album with the pink flower on the cover and the Opeth logo on the cover in the metal section of your local record store. You think, “I’ve never heard of a metal band that would use a pink flower for its cover!” You pick up the album on a whim, completely unsure of what this band will deliver. Then you pop it into the CD player, and the story begins.

When this album kicks off with “In Mist She Was Standing”, it initially has a similar sound to other Swedish melodic death metal bands. A funny thing happens on the way, though. The opening riff morphs subtly, in a way that is almost not even noticeable. Then, before you know it, you realize you’re almost a full two minutes into the song and you haven’t even gotten past the opening riff! All of a sudden, a clean vocal chant from vocalist Mikael Åkerfeldt appears in the background. After a death metal section, acoustic guitars come in and completely change the vibe of the song into something completely unexpected, and you realize that this band is something special.

As the album progresses, it becomes more apparent that this band is—and will be—a force to be reckoned with. On display in this album is top-notch musicianship. It seems that for almost the entire album, the two guitars never play the same thing. The bass is almost never content to play just a rhythm track. The vocals show unbelievable range inasmuch as they go from low-end death growls, to clean singing, to black metal shrieks, and Åkerfeldt excels in all counts.

Also on display in this album is the songwriting. There are so many different dynamics and sections in this album that it’s hard to believe that all of it can be contained in one album by one band. There are heavy parts that come close to the sound of early black metal, acoustic passages that sound almost like folk music, a piano-only instrumental, and melodic metal passages. After all, this is one of the few bands in the world that can regularly write songs over 10 minutes long and manage to have them keep your attention all the way through.

Overall, this album shows an insane amount of talent and ability in this band. This is especially true considering this is their debut album. Ultimately what this amounts to is a harbinger of things to come: true greatness and success. The only reason I’m not giving it more is because the album sounds raw. The music, while great, can get a tad disjointed at times. However, don’t let that stop you from enjoying this well above-average debut album.

Note: If you get the bonus track, “Into the Frost of Winter”, be ready for hilariously bad ultra-necro black metal production values.

I have always found Opeth’s debut album, Orchid, to be the most interesting album in their discography. When you think of Opeth, you think of the vintage, prog-influenced death metal sound in albums such as Still Life, Blackwater Park, and Deliverance, but in Orchid, we have four young, ambitious musicians starting off with a unique sound distant from those aforementioned albums.

Really, Orchid seems to have more in common in the Scandinavian extreme metal scene than in the progressive scene that they would be a part of. The guitarists, Mikael Akerfeldt and Peter Lindgren, churn out folky dual harmonic riffs rather than the more vintage-sounding riffs in My Arms, our Hearse and beyond. I like the approach that Mikael and Peter went for with these riffs, as it makes for a very autumn-like atmosphere. Some of the acoustic sections, which are very ambient, often lengthy, and repetitive (in a good way), sound almost shoegazy at times with a very watery, ethereal tone to them. Before the two Martins, Lopez and Mendez took over drum and bass duties respectively later on, they were handled by Anders Nordin and Johan DeFarfalla. Unlike the progressive, heavy approach that the former two utilized, the latter two’s proficient work is quite jazz oriented, adding a bit more variance to the music. Mikael Akerfeldt’s growls are more high-pitched than usual and more black metal-influenced than later albums to come. They are well-performed, but they do lack . His cleans are also noticeably amateurish – the worst example is near the end of ‘The Apostle in Triumph’ where he is often off key in his performance – but thankfully, his cleans are restrained everywhere else for the most part and mostly in the background.

The songs are pretty long, ranging from 9-14 minutes (not counting the interludes), but they are of an even pace and hardly ever drag on. The compositions, however, have a tendency to transition into riffs that aren’t related. It is the same thing that happens in Opeth’s recent release, Heritage, but with that album, the schizophrenic structure worked for Opeth’s favor. In Orchid, it usually doesn’t. While the riffs are very good, piecing them together seemed like an afterthought. With that said, the songs are well developed without ending prematurely, unlike the aforementioned Heritage.

Though flawed and amateurish when compared to Still Life and Blackwater Park, Orchid seems to carry this charm for an ambitious band in its prime with its black/death metal roots and atmospheric touches. It is a very solid album in its own merits and it is worth your interest if you are trying to fully get into Opeth.

While I've been rather outspoken towards Opeth's current direction in their career, their earlier albums will always have a home in my collection. 'Orchid', their first opus, is a genuine classic amongst the early Melodic Death Metal releases coming out of Sweden in the mid-90's, although there are many hints of avant-garde and Progressive, this is still Melo' Death to the bone.

Opeth has a real knack for getting your attention by merely the names they use to title their songs. 'In Mist, She Was Standing', 'Forests Of October', 'Under The Weeping Moon'. Invigorating, intriguing, and even mysterious at times. This album, and it's sister LP 'Morningrise', are prime examples of Opeth's genius, not only in their presentation, but in their music.

There are no blast beats here, nor are there really any fast paced rhythms within, aside from fancy footwork and well-executed neck scales on guitar and bass, which is a very prominent, and important, factor of this experience. Vocal-wise, unlike later Opeth releases, Mikael uses his growls predominately instead of singing for 2/3 of the verses in his lyrics (Again, just like later releases). I will even go as far as to compare this album to the early works of Swedish Black Metal, based on riffs and timing, tempo, the octaves of Mikael's vocals, and even the production ('Orchid' and 'Morningrise', while not having exactly the same sound on them, have roduction comparable to Dissection's debut).

The only downside to this is that the lengths of each track are just ridiculously long. The first track clocks in at just over 14 minutes. This makes this album a little more difficult to ease into, but once you've stuck it out, you realize how enjoyable it was, though you may not be as eager to listen to it a second time.

All in all, this is definitely a classic, and recommended listening to those who aren't too fond of Opeth's more recent releases.

I'm not a big fan of Opeth any more, but when I first started listening to these guys in 1997, I was really impressed. No one was doing music like this back then, and I can't really think of anyone pulling it off that well nowdays, except maybe Opeth themselves.

The production was done at Unisound Studios, under Mr. Swano, and it's masterfully done. The overall tone of the album is somber and somewhat subdued, kind of similar to Queensryche's The Warning. It's not smashing you in the face, but rather hanging in the corners of your room like macabre cobwebs. The somewhat dry sound really gives it an organic, dusty, and mournful atmosphere.

And that's what really made Opeth special for me: these early albums really evoked a certain autumnal atmosphere. They weren't meant to be listened to for one song, or for headbanging. You absorbed the entire experience in one sitting, getting engrossed with the artwork, the music, and the rather cryptic lyrics. Johan Defarfalla's fretless bass insanity is really enjoyable, as is Anders Nordin's jazzy drumming, and those two elements really disappeared once those members left.

What doesn't work so well is that as a straight up metal album, Opeth is not really the band you'd want. The transitions on here are a bit smoother than on Morningrise, but the songs lack real hooks, apart from a few repeating or building melodies, making them hard to get into. And I think therein lies the problem: this has more in common with Tangerine Dream than Morbid Angel. Orchid requires a certain type of mindset to enjoy.

This band was formed when Akerfeldt was 16...By 21 this band had released a full length album that had 7 songs, over 65 minutes long, and there were two songs in there that were only a couple minutes long each. The rest averaged over 10 minutes. There is nothing more epic than Opeth.

They are undoubtably one of my favorite bands. Not only are they innovative, can be crushingly brutal, but can progress through the degrees of aggression to a soft acoustical piece in the matter of moments.

Some call it boring, others say that it's sporatic...I think that it's awesome. I love variation, and I think that it shows much more talent to write 7 long songs than 15 short ones. To be able to allow the song to progress and mature like this band does, well it isn't done very often...Maybe that is why there are some that don't like it...the attention span issues where people can only pay attention for so long. I feel the same way a lot of the time, and that is why when you can go from a driving melodic song like "Under the Weeping Moon" where it just hits the emergency brake and drops you off in a wasteland of bleak sounding chords...it made me think of Iron Maiden's version of Rime of the Ancient Mariner. Then there is an amazingly beautiful and talented song by the drummer, where he plays the piano extremely well...The last track is a nice mellow acoustic song sounding kind of like Led Zeppelin's Gallows Pole or something to that extent and then drives you away with a heavy, harmonic blast of guitars with growling vocals that echo through your head as you try to figure out what the fuck just happened..

Overall, this is not my favorite, nor is it (in my opinion) their most polished and defining work...But what a hell of a start. These guys have a head up on most any band I have ever heard regarding an initial album where they define their sound as their own, and stay true to it even a decade or more later.

This is a great album to show how this band has matured from the quartet to the quintet that exists today; the path they chose the journey they took, and where the long road has taken them thus far.

I’ll be honest here: when I gave my first listen to Orchid, I wasn’t exactly sure what to think. The production was rawer and grainier than Opeth’s later albums, the vocals shallower, and the guitar work was just completely different. Of course, at the time I had only been listening to BWP and Still Life, so naturally it was a major shift. After one listen, I left Orchid to gather dust. It was a foolish choice.

A few months later, I found it amongst the plethora of metal albums I owned. I decided, “What the heck,” and popped it in the computer. After randomly selecting a track, which happened to be ‘Forest of October,’ I was just blown away. The dueling guitar melodies, the actual presence of bass (gasp!) and the whole atmosphere created was utterly dark and epic. It wasn’t long before this became a favorite of mine, and remains so today.

The main emphasis on Orchid is, without a doubt, the guitar work. What makes this album stand out from all the others in Opeth’s large resume is the way its guitar parts are executed: most prominent is either the semi-black metal approach, or the dueling rhythms. The latter creates a unique style by having each guitar doing a different rhythm while not exactly harmonizing, nor with it being a lead-over-rhythm style, either. ‘The Apostle in Triumph’ and ‘The Twilight is my Robe’ are perhaps the greatest display of this on album. Occasionally, they resort to power chords and palm muting and what-have-you to add a layer of heaviness. Orchid doesn’t lack for solos; nearly every song has one, and if not, there are generally leads enough to compensate. The solos are not necessarily shred-quality, but neither are they simple. Most are fast paced and energetic, while the leads are generally slower and more atmospheric.

Another highlight to the album is the acoustic sections; in my humble opinion, the clean breaks on Orchid are the best in Opeth’s career. The fact that they use classical guitars makes it all the more better; it definitely fits in with the atmosphere, adding its own unique eeriness. Coupled with the fact that in many cases they are harmonized, usually in a melodeath fashion (Requiem is a prime example), it makes for an interesting (and epic) listen. Unlike in their later albums, the clean breaks seem like they are played with purpose and emotion, not just for use as fillers. They and the distortion complement each other, rather than one of them gaining dominance over the other.

The bass on Orchid (and Morningrise) is nothing short of incredible. Johan DeFarfalla’s bass lines, like that of the rhythm guitars, are for the most part on their own, weaving in and around the guitars, never too in the way, and never subdued, and always adding something to every riff. Unfortunately, no chance was ever given for a bass solo, but there is plenty of shining moments for the bass alone to make up for it. ‘The Twilight is my Robe’ is probably the best song that showcases the bass, and it’s easy to see why.

The drumming on Orchid is superb, with a multitude of different styles showcased throughout, ranging from laid back jazz to double-bass pounding, and everything in between. They never hinder the songs or get annoying, but neither is there any absolutely shining moments.

Ah, the vocals. If there was a weak part to the album, it wouldn’t be the quality, but rather the lack of them. Whilst vocalist and frontman Mikael Akerfeldt’s voice has undoubtedly matured over his career, both his growls and clean singing are weaker on Orchid than later efforts. But by no means does this detract from the experience, as, like all the other instruments, they add to create that dark, eerie atmosphere Orchid is known for. The growls are harsher, higher pitched and laden with reverb, and while the clean singing is scarce, it’s good while it lasts. Unfortunately, neither truly last long, as the guitars take the forefront throughout the album.

Lyric-wise, the album is fantastic. They read much like poetry, and surprisingly flow very well. Overall, they are somewhat depressing, melancholic, and dark, yet at the same time inspiring and completely epic. They couldn’t possibly fit the atmosphere any better.

All in all, Orchid makes for one hell of a listen. Every part meshes together flawlessly to create a listen that is unique every time you listen to it, never losing its flavor or appeal as so many metal albums are prone to do. It may have been Opeth’s first release, but overall it is definitely one of their strongest.

...except that this album is perfect! Opeth has gained more and more media attention over the years and, as is the case with every up-and-coming band, it is a matter of debate whether they have earned their success or not. I understand if the sheer size of their songs and the are hard to swallow for some metalheads, as it takes while to adjust to each song. I still think that there’s that “something” in Opeth that should appeal to every metal fan out there.

Once in a while, out of the mists of Scandinavian forests comes a band which can blow your mind away with the very first song of their very first album. "In Mist She Was Standing", the fourteen-minute mammoth-of-an-opener, is definitely one of those songs. It begins with some really beautiful dual-guitar harmonies by Mike and Peter (why did you have to leave, Peter?), and gives you visions of dark forests, still lakes, misty fields and other beautiful things of nature – at least to me, that is. The best thing is that the song – actually, the whole album – is arranged brilliantly, so that it flows freely all its length without falling apart or being pretentious, which I feel happens sadly often in prog. The minor flaw is the part at around eight minutes, with over-extended screams by Mike, which are a bit annoying. 10 / 10

Next up is "Under The Weeping Moon". The intro consists of a few very folk-sounding notes by acoustic guitar (not folky in that power-metal-happy-folky-way), but quickly turns out to be a damn deppressive song. The part from 3:07 to 6:00 consists mainly of a simple, haunting riff by acoustic guitar with some extremely eerie background noises...hrrr...I wouldn't like to listen to this at the middle of the night when I'm lost in the woods trying to get back home after having a rather booze-oriented evening at one of my friends. Oh, back to the song. The song eases a bit when the guitars and drums come back again, with Ander’s pounding double-bass and heart-rending melodies courtesy of Mike & Pete. 10 / 10

"Silhouette" is a beautiful, almost classical-sounding piano interlude composed by the band’s then-drummer Anders Nordin. Very good to listen to when sitting on the shore of a lake, for example. Beautiful, just beautiful. 10 / 10

"Forest Of October" is still today a fan-favourite and played at most of their live shows. And for a good reason. The opening sounds almost like a heavy metal-version of waltz song (you’ll have to hear it yourself to understand). The acoustic part which begins at 4:40 is probably the most atmospheric notes played by acoustic guitar I’ve ever heard. 10 / 10

"The Twilight Is My Robe" begins with an Iron Maiden-esque galloping riff, which quickly transforms into another beautifully harmonized twin-guitar melody by Mike and Peter. I think it sounds a little too much alike the previous song...probably the guys knew they had a great song in “Forest Of October” and tried to make another one like that...who knows. Still, a great song, mainly because of the awesome arrangements. 9,5 / 10

"Requiem" would be a great acoustic interlude, if those morons mastering the album wouldn't have fucked it up and joined the last one and half minutes to the following track, "The Apostle In Triumph". I guess the guys who mastered the tape couldn't really understand Opeth's musical efforts and were quite confused themselves (not a surprise...the music on this album is, shall we say, quite challenging to listen to). 7 / 10, the weakest track on the album...but one minute doesn’t really matter in a 65-minute album. If it disturbs you, then simply skip it.

“The Apostle In Triumph” is perhaps my favourite track on the album (despite the intro-mess up: I think it actually makes this song even better!). After the intro we have probably the best twin-guitar harmonies on the album which go on for several minutes, yet never boring nor repetitive. The middle section is one of the few black metal parts of the album, all laden with Mike’s cool chants and moonbarking lyrics. 10 / 10 (best track on the album)

The lyrics are quite enigmatic, if I may say so. Most of them seem to deal with some kind of relationship between man and the nature. The overall lyrical output is very dark, yet nothing uber-satanic nonsense here...kind of stuff you’d even dare to show your mum, if she’s on a good mood. Although they’re usually dubbed as “progressive death metal”, the overall sound on the album is not quite as “progressive” as on their later releases, but this still isn’t definitely something you’re gonna hear on the radio. (I remember hearing “The Grand Conjuration” from their latest album but never anything from this one, see?)

The 2000-reissue contains a bonus track, namely a demo track called "Into The Frost Of Winter" from their pre-recording days. The sound quality is understandably much worse than the rest of the album, but the song itself kills you as easily as “Forest Of October”. It begins with a very chaotic riffing and drumming section, which transforms into an extremely eerie section at around 0:43. Parts of the song later appeared on the song “Advent” on their follow-up album. Man I always like those vibes these twisted, down-tempo doom riffs give me – if they’re done properly, that is. These guys know how to get the job done; I don’t think many bands made stuff like this in the early 90’s, not to mention how must the songs are perfected on “Orchid”, so Opeth has always stood in a league of their own.

The production is a bit thin, mainly the guitars, but this album is already 12 years old as of 2007, and it really doesn’t matter because the music itself drags you away completely. Many people complain about Mike’s clean vocals on this one, or the lack of them to be precise. There are only a few parts sung with clean vocals, most of them some mysterious whispers, which add to the unique feeling of the album.

In conclusion: Heavy but not just metal, breathtaking from start to finish, and something you should definitely try.

I am absolutely in love with Opeth and literally every album they have put out in the past 17 years. From Orchid to Ghost Reveries and everything in between, Opeth is the embodyment of all that is progressive metal, with some rock and jazz influences here and there.

This album is rather extraordinary, all things considered. There are not many bands that pull out a debut that is reminiscent of nearly all latter albums. Opeth's signature sound is heard in every song, with deep, dark sounding growls, clean vocals, the jazz-rock element, and somber acoustics. The clean vocals aren't quite up to Åkerfeldt's usual standard, but they work well enough to make bearing through this album well worth the wait.

The recording quality is far from amazing, and the composition isn't perfect, but compared to other albums released in the mid-90's, it's nearly perfect as can be. I've always enjoyed the riffs and the rhythmic elements that move each track along to 10+ minutes, which is nothing unusual for this band. The music can be somewhat repetitive, but is never done in bad taste or without passion, which is one thing that I can truly appreciate.

Sure, it's far from Opeth's best, but it's most definitely not their worst. The genius of Åkerfeldt's songwriting is beautifully done, and certain parts remind me even of Deliverance or Still Life. Like I said before, the clean vocals aren't quite like the work on Ghost Reveries or Damnation, but are definitely a start.

As a debut, this album is substantially excellent and is comprised of a myriad of musical elements that make for quite an enjoyable listen. This album is far from over-rated, although the quality and certain musical ideas could be rethought.

There are definitely some recording and mastering problems as well. The guitars are mixed fairly low, and the atmosphere is lacking. Unlike the epic feel of most Opeth albums, the sound of Orchid is emotionally bland and is filled more with single-noted riffs than masterfully orchestrated melodic chord progression.

In conclusion, I must say that despite the very few qualms that I have with this 1995 masterpiece, I believe that every Opeth fan should at least consider buying a copy of this album and giving it a good listen. All the signature Opeth pieces are there, and are done well enough to make this one an enjoyable piece.

(Note: Originally written on January 28, 2006 by me on Amazon.com)

When this hit the metal scene in the early 90's, some were skeptical as to how the band would progress over the years, but this album shows incomparable promise for a group of musicians willing to stretch the limits and challenge themselves. Although their formula continues to evolve and blossom with each album, Orchid gives fans a valuable insight to Opeth's beginnings. Their blending of Gothenburg metal, atmospheric prog rock, and acoustic interludes was just starting here, and it shows that Opeth were still trying to find their own little niche. They did after a while, but this album is still quite good its own.

The first thing that jumped at me from the start of the album were the guitars. Mikael and Peter collaborate beautifully, switching off some truly beautiful lead guitars which seem to resonate off of each other and create a rather autumnal atmosphere. "In the Mist She Was Standing" and "Forest of October" are good examples of this, and feature some of the best solos the band have ever composed. Their displays of virtuosity are jaw-dropping, but not self-indulgent. Another thing that jumped out in particular were three riffs in the opening song that sound quite familiar... Oh yeah, they turn up on Morningrise! You betcha. Two riffs from this song were re-used in "Advent", and another was slightly re-written to be used in "Black Rose Immortal". Screwy, isn't it?

The bass here provides a warm atmosphere, and even a few jazzy moments on its own. (See the beginning of "The Apostle in Triumph" and a mini-solo in "The Twilight Is My Robe".) Anders's drums are basic but fitting, and he throws in some intricate fills to help move along the song to its next section. Mikael uses a gritty, raspy scream here, which is quite different from what he does now, but its rawness aids the album.

Orchid's production is quite similiar to Morningrise. It has a slight reverb to it, and the acoustic guitars seem to shimmer. The guitars used a trebly but thick tone perfect for harmonizations, and the bass has a nice slap to it. Anders' drum sound is amazing, and the double bass gives even the weaker sections some strength. However, the overall sound is somewhat dry and hollow, but maybe that's just the studio.

I reccommend this to someone who is eager to the band's past. It does take a while to absorb everything, and a little fat-trimming on the song structures would have helped a lot. (Let's face it, the songs are almost TOO long, and Opeth never repeat a riff twice in a song.) Some parts a bit disjointed as well. But the songs "Forest of October" and "The Twilight Is My Robe" are among the best songs Opeth have made, and "The Apostle in Triumph" is a total classic. So, prepare yourself, because this album is anything but immediate. It takes repated listens with a good attention span to really get it. But once you get it, you'll love it... Parts of it, anyway.

So, this is the beginning of it all for Opeth; their debut album, which for me immediately showed the amazing talent that this band has, and paved the way for their future success. Released in 1995, it contains the best of what can be known as the 'early sound' of Opeth-which lasted more or less till their second album Morningrise.

Mikael's vocals are just a bit more "black metal" then "death metal" here. His clean singing is very beautiful; no surprises there. Overall, the music has a 'forest' atmosphere. By that I mean, the sound is much more raw and epic then that of their later albums. The production, though obviously not comparable to their later albums, is still amazing for a debut album. It is the musicianship, and endless ideas flowing out of this still very young band that are most brilliant. The best part about Opeth for me is how you don’t know what to expect from them from song to song, and this is greatly showcased here, with each song bringing something new. One can actually “get” into the music more and more with every listen. Orchid, just like their future albums has a great mix of heavy metal and acoustic music, and the transitions are very striking. It did actually take me a few listens to really get into the album, but since I did there hasn't been one day that I go without listening to at least one of the songs off the album.

Four of the seven songs clock in at over 10 minutes long, yet there isn't one moment when the music tends to get boring or repetitive. Opeth has never been “technically” gifted, rather they have the gifts that any real musician should wish for: the gift of making real music from the heart. Orchid, like all their other releases, has such emotion and feel in the music that the listener tends to get sucked into a whole new world of sound. An example of this is at the 6:32 mark of the fourth song, Forest of October (now an Opeth classic). There is a simple sliding lick here, with acoustic guitars in the same vein being added soon. Then comes the rhythm guitar, with the same notes simply being played on power chords. No technicality at all; very simple stuff. But it is basically the amazing atmosphere generated here, that defines heavy metal as it should be.
Another standout track is “The Twilight is My Robe”, with some of my favourite Opeth acoustic passages ever. The only downside of the album is the song “Silhouette”, which is an unnecessary piano interlude, and is “skip” material.

So, at the end of it all, Orchid is probably one of the best debut albums ever, by a band that is now, in my opinion, the best that metal has ever had to offer.

'Extreme' is a very controversial word in metal. Many think it's overused and improperly applied, such as with the recent branding of Dragonforce as 'extreme power metal.' The word is meant to imply that a certain style is taken one step further in terms of aggression and aesthetic, and in recent times has joined the term 'avant-garde' to coin bands who just don't fit comfortably in any set genre or genres.

In 1994, Opeth released their debut album Orchid and became the foremost purveyors of what would come to be known as extreme progressive metal. Not following the well-beaten path of traditional prog metal bands such as Fates Warning and Psychotic Waltz, Opeth exploded on the scene with a majestic style that reinvented what progressive meant. Gone were the saccharine, pretty-boy vocals and face-melting solos and in their place were extended song compositions that took influence from doom, death, and black metal. Many have labelled them as a death metal band because of their heaviness and growls, but the riffing style and frequent use of acoustic guitars planted them firmly in the progressive mold, although there were clearly integrated aspects of the aforementioned genres in terms of vocal and lyric styles and atmosphere. The most prominent aspect of the band's style was the fact that they alternated between unforgiving harsh vocals and sweet clean vocals--from brooding deathstomps to Romantic acoustic interludes. This constant trade-off created a layered effect of dueling emotions.

Orchid is the album that best represented the band's diverse influences and is arguably the rawest. Here the sound is much more organic and less ambitious and they really let loose more often in the form of freak-out speed portions, proto-blastbeats and a more modest production. The feeling this album and all their other albums give is one of slightly adrenalized neo-folk background music, and the fact that we hear what their former death metal band Eruption could've been is sure to disappoint many. However, on this album, Opeth had created a beast that was needed in a scene prone to stagnation, and continued to keep metal as a vanguard for daring originality.

Highlights- "Silhouette"- I really think they should write more songs like this to break the monotony. Great piano interlude.
"The Apostle in Triumph"- The title is so fitting...the song feels very triumphant, almost in a Viking sort of way. Nice acoustic intro.
The lyrics- The rustic poetry about nature and spirituality has wonderful imagery.
"Into the Frost of Winter"- Very raw and heavy rare rehearsal recording. It almost sounds like a different band.

Lowlights- Well, this is just too low-key to listen to too often and the songs seem to lack focus at times. It's as if the music is 'progregressive', alternating between actually going somewhere and then becoming lost. The disjointed effect is a little neat, though, and I'm thinking this technique is used somewhat purposefully to create a sense of conflict.

I find it very hard to review an Opeth album (especially their debut)... people usually either love them or hate them... leaving very little room for middleground. This is mostly because for some people they're the most "mature" or emotional band out there, while for others it's just some pretentious garbage, failing at being both emotional and brutal.

If there's one thing we can't complain about on an Opeth album is lack of variation. Each song has its fair share of death metal riffs, traditional heavy metal riffs, acoustic guitar riffs and even a few (sparse) doom riffs, not to mention solos; there're heavy fast moments and mellow slow moments; grunting and clean singing; and never a verse-chorus-verse structure... the bass is audible and has its moments to shine and the drumming is competent, handling both fast and slow moments. And also, Mikael sure has some lungs for his growls (though he was still a bit green here) as well as very pleasant clean vocals.

Ok, then, if this is all so good, why the hell do I always forget I have Opeth in my album collection?

I've tried so hard listening to this with maximum attention and though it has its few good moments, I seem to completely forget every track after listening (and I've been told to have a remarkable memory for music). One reason for this could be the schizophrenic song structures. Ever heard of dadaist poetry? basically dadaist poetry was made by cutting words from newspapers and randomly grouping them forming senseless lines. So, it's basically the same thing here: a bunch of unrelated riffs glued together one after the other, with the soft prog rockish moments coming in and out at random. As a result, riffs are used once, repeated a few times in the song and forgotten by both the listener and possibly the band. The songs, thus, lose all sense of unity and never seem to go anywhere. Want a proof? acording to Wikipedia (http://en.wikipedia.org/wiki/Orchid_%28album%29): "Due to a mix-up in the mastering process, the end of "Requiem" was placed at the beginning of "The Apostle In Triumph"." Shocking, huh? I bet you never noticed the difference. Hell, I bet this happened because the guy who was mastering it got confused too... he probably thought it was an intro.

My second problem with them is the serious lack of emotion in this album (and not just in this album). Oh, yeah, I know, the lyrics are "poetic" and stuff: "I am so alone, so cold/My heart is to scarred to glow/I wish the sunrise to come/Take my soul (away)/From this cold, lonely shell/I am free" (I won't even mention the cliché in the lyrics because this written was over a decade ago, so I'll let it pass) but there's no conviction in Mikael's voice. He could be singing the lyrics of Bloodbath and it'd be the same thing! He may have a good voice, but goddammit, with the way he sings it doesn't even sound like he wrote those lyrics himself!

I'm not saying, though, that this album is just an unfocused mass of apathetic music (ok, I guess I kinda am.....): there're plenty of interesting riffs and solos (especially the ones near the end of the songs) and beautiful mellow parts, but the band didn't know how to work with them to make something truly epic and memorable. As a result, this is just... forgettable. An average album to listen once in a while, but nothing good enough to earn a respectable score or demand repeated listens.

Best tracks: "The Twilight is my Robe" since it has more of the aforementioned "good moments" than the other songs, and "Silhoutte" (a short piano instrumental) for being the most focused and emotional song in the album.

It’s not very often that a metal band completely redefines a listener’s outlook on heavy music. Opeth’s Orchid is a collaboration of so many different genres and styles of music that it is nearly unclassifiable. There are definitely elements of death metal, traditional metal, doom metal, progressive rock, and even jazz. There are definitely more elements, but Opeth takes all of these different styles and molds them together seamlessly. Exceedingly heavy riffs turn into death metal crunch, which then turns into a haunting acoustic passage, almost as if it was completely natural to bend a multitude of genres into a new sound. That is definitely one of the highlights of this album: it sounds so effortless, yet so perfect at the same time. Well, for the sake of argument, I will just call Opeth a progressive-death metal band.

When one takes a glance at the length of the tracks, some things may come to mind; progressive rock bands like Rush, doom metal, and epic styled songs. While Opeth does have progressive tendencies, like playing incredible complex chord patterns and different riffing patterns, they do not have the “soft” tendencies that many progressive rock bands have. Opeth happen to be a death metal band playing extremely long, well thought out songs. The length of each track doesn’t sound forced. It is important to note how comfortable the band seems to be playing each track for around ten minutes. A lot the time with longer songs, I tend to get bored, but each of Opeth’s songs have so much variety in them, that it is nearly impossible to get bored while listening.

The production is not the greatest, as there are tinny sounds with some of the cymbals, but that is just a minor qualm. The musicianship is excellent. One should notice the difficulty of the riffs that are played immediately, especially if they’re a guitar player as well.

The base of Opeth’s music is definitely death metal. It seems that music is built around a certain death metal styled riff and the other elements the band brings in seem built on top, almost like stone is laid for a wall. The songwriting is excellent; everything seems to have its place. I believe Opeth have found a certain type of perfection in their songwriting that few bands have ever found. To be able to write a ten minute song, and have every part fit perfectly is an outstanding feat!

Each track on this album is exceptional on its own. There is definitely no need to do a track by track analysis; it would be to repetitive and redundant. Each track has a very somber, sad feeling to it, and the acoustic passage help to highlight that feeling even more. The general guitar tone is almost melancholic, while still retaining heaviness and crunch. Even the track that is solely piano has a melancholic vibe. I’m not sure if it is because it is in minor keys or not, but sadness and gloom just ooze out of the track “Sihouette”.

The vocals on this album are definitely influenced by death metal and black metal. There is a very cool rasp to some parts, and some excellent deep growls. More amazing yet may be the clean vocals. They are very haunting, and definitely help to set the melancholic tone even further. The clean vocals, in most parts, are almost whispers; very eerie and almost haunting.

The guitars on this album range from a deep distortion to a very clean, natural sounding acoustic style. The acoustic passages sound very natural to the music, and not forced like some bands seem to do. There are some really amazing tempo changes and some even more amazing riff changes throughout the music. Also are some really cool solos. Once again, not forced, and by no means showy; just another element that fits in really nicely.

Sometimes it is difficult to discuss the bass playing in metal, because frankly, I find it hard to hear on a lot of albums. Well the bass on “Orchid” isn’t the type of bass that can’t be heard. The bass has a nice place in the mix, and there are some really cool lines that the bass player uses. The bass is definitely used as another instrument (instead of like some other bands that simply play the bass as if it were a guitar). There are some really cool parts that, once again, fit in very well in the songwriting scheme of things.

The drumming is definitely not just standard metal drumming, by any means. This is where Opeth fits the jazz element in a lot. The drums, especially in the slower, doomier passages, seem to be played much like a jazz drummer would play. There are some complex patterns, but it is not flashy or all speed like a lot of metal drummers. The drummer definitely shows he can play both fast and slow; when the speed picks up, the drums are spot on!

As one can see, each element of Opeth definitely knows how to use their respective instrument very well. This album is definitely an exciting listen, as it compasses so many genres and molds them into metal. It is hard to believe that an album of this quality came from a band’s debut album. This album definitely gave hints as to the road Opeth would take with later albums.

This album is highly recommended to all. I think there is definitely something everybody can enjoy on this album. It truly must be listened to start to finish for it to be appreciated fully. Opeth showed the world that they were the masters of progressive-death metal. Like I said before, it is rare when album can redefine how one looks at metal, and this is one of those albums: it’s even rarer when a debut album can do this. This album shows why Opeth would one day climb to the top of the metal world!

In Orchid we have a lot of good news with a little bit of bad news. I'll go with the negative element first, and that is one that Opeth have struggled with throughout their career, that is the tendency of their songs to lose their directive at times and meander in a somewhat meaningless fashion. I can see a reason to insert such parts into songs, perhaps to calm a listener or to give them time to think about the part they just heard, but in most cases I could do without them. On Orchid, they are characterized by a lot of volume swells on guitar, mostly during the acoustic parts. I encounter them in most of the songs, for example from 5:15 - 6:45 in In Mist She Was Standing. Here for almost a minute and a half the song continues to have no directive, repeating a very mellow acoustic arpeggio before shifting into another equally mellow and, dare i say, boring one, as if it is going through an "intermission" for a listener to get up to get a snack and come back. This is not to say that I could do without Opeth's acoustic sections, as there are many of them that are definitely good and add to the meaning of the song, for example from 3:45 - 4:08 in the aforementioned In Mist...

Okay now to the good stuff. First of all, Orchid is a display of Mike's mastery of the use of two guitars, probably one of the best in modern times. Looking at the intro to In Mist... one can see directly how the two guitars seems to weave musical poetry with one another. This is where the band shows their progressive side, in the imaginative ways they find to mix and match Akerfeldt and Lindgren's guitars. All of the members as of '95 are solid musicians and their skill is well displayed as the production, while somewhat raw and cold, still does all of the instruments justice. Also the sound of the guitars is perfect for the tone and feel the album tries to get across. Despite the overused acoustic guitar, Opeth prove on The Apostle In Triumph that they are very capable of mixing other instruments into their songs in a brilliant way, both with the acoustic intro and the violin solo around the 8 minute mark. Opeth seem to shy away from allowing their songs on Orchid to be carried by riffs, instead choosing to focus on the progression from one riff into the next. Even in the 10+ minute songs, most of the riffs are not repeated at all or only repeated for less than 30 seconds.

This is not for headbangers, and if you are into a sort of "grab you by the throat" heavy metal only then I would not recommend this, as this is more of a slow, "nod your head back and forth" album overall than a quick headbanger. It is a good buy for progressive fans who can appreciate a modernization of the 70's "Yes" sound and for fans of melodic death or black metal. This music is very good and even-tempered and as long as you have the patience as a listener to stomach some of the longer acoustic intermissions, you will surely enjoy their sound. This album best showcases what Opeth were meant to be and do: quitely melodic and very poetic prog metal.

Opeth’s debut album Orchid marked the beginning of this band’s impressive journey into becoming one of the most promising metal bands of the 1990’s! Their unique spin of progressive melodic death metal has earned them praise everywhere for good reasons!!! Like all other Opeth albums, one of the most important aspects is the unique blend of acoustic/electric guitars by guitarists Mikael Akerfeldt and Peter Lindgren. Orchid carries not only some of the most interesting guitar riffs of Opeth, but some of the best guitar riffs I’ve ever heard period. I cant see how one can deny the first few amazing riffs of In Mist She Was Standing or the beyond beautiful intro of Forest of October unless they are insistent on excessive palm muting and tremolo with more concerns of guitar speed than composition. What I appreciate most is that Opeth have their standard very heavy riffs and many outstanding progressive interlude riffs, which create an excellent atmosphere. Atmosphere is definitely something lacking in the music scene today. This album takes you through an epic journey that no other band could possibly replicate.

The acoustics tend to be a bit slower than later albums but I find it makes this album easily as good musically if not better. It sets an even more atmospheric setting that is enough to almost put one in completely tranquil state. As someone suggested earlier, this atmosphere can create quite a calm yet eerie setting. One other thing that I’ve noticed about the musicianship is that Orchid easily boasted one of their best rhythm line-ups with Anders Nordin on Drums and Johan de Farfalla on bass. The production isn’t that great, but on a first album that is expected. The vast majority of vocals on this album are screamed/growled and Mikael’s clean voice is great at this point but still developing. They would go on to expand his clean vocals on later albums. Despite the lack of clean vocals, the setting has made this one of their more beautifully dark albums.

The album starts with In Mist She Was Standing, which starts off with a couple of classic heavy, progressive Opeth guitar riffs and further develops with Mikael’s aggressive vocals and acoustic atmosphere. Continues with more aggression, melodic beautiful guitar passages and acoustic beauty. In Mist She Was Standing is certainly one of Orchid’s better tracks. Next is Under The Weeping Moon, not quite at the level of In Mist She Was Standing but a great song nonetheless. After the bass intro it has a great opening solo, follows with Opeth’s usual brand of intensity and acoustic beauty. Give the long acoustic passages a chance to develop. You wont regret it! This brings us to Silhouette, an excellent piano interlude. Not too long, not repetitive and definitely performed by a skilled piano player and not worth skipping at all! That brings us to one of the most memorable Opeth openings in Forest of October! Its beyond me how people cannot appreciate the beautiful guitar introduction!!! Forest of October flows great after Silhouette. Forest of October is one of the best tracks on this album without a doubt.

Twilight Is My Robe is different because this song starts of with some hellacious growls and kick-your ass guitar riffs from the get go. Somewhat different in structure than some songs, still contains some really good melodic guitar harmonies and some of Mikael’s more memorable acoustic passages and clean vocals. And the some decent bass work in the middle! : O Full marks! Requiem is their first acoustic interlude and although rather short, it’s still a superb piece of acoustic material. Set the standard for future acoustic Opeth songs and is a great song to set up The Apostle in Triumph. The softest intro to any of their full songs on this album, two minutes of great acoustic patterns followed by a beautiful lead guitar melody that assures that the skip button is not needed! Opeth’s least intense, most epic full song on this album and easily a standout. Many of their best melodic (distorted) guitar harmonies are found on this track. Recommendations include In Mist She Was Standing, Forest of October, The Apostle in Triumph and the impressive piano melody Silhouette. For an opening album, this is outstanding work and definitely worthy of being an Opeth masterpiece. Couldn’t ask for more but Opeth seemed insistent on giving us even more! Couldn’t be happier!

Few bands, in my opinion, have managed to capture the essence of their own art already in their very first recorded effort. I was appalled when I heard Children Of Bodom’s debut “Something Wild”, and I still am… but nothing could prepare me when I first discovered “Orchid”. Back then, I was already into Opeth since some time, so I knew what to expect from the band, yet repeated listenings of this record left me more and more awestruck. It was, of course, a different Opeth from that behind “Still Life”, but there was no mistaking: it was all there already.
Despite being the band’s first foray into a real studio, the performance is very tight and self confident, and the sound – courtesy of Swedish factotum Dan Swanö – boasts a reasonably professional quality, and most importantly, fits the album like a velvet glove. By no means an easy task to begin with, since Opeth’s sound is notoriously multi-layered and often incorporating elements that would simply clash against each other without a detailed engineering job.

Describing the music of Opeth is yet another difficult assignment, as the “Progressive Death Metal” label which is often attached to their style is far from incorrect but equally far from descriptive. The band’s Death Metal roots are obvious in their approach to intricate riffing and sudden tempo changes, although they never reach what the avreage listener would call fast paces; to this basic formula, Opeth add a huge does of melodic taste in the form of countless harmonies, tasteful acoustic passages and occasional clean vocals. This isn’t that much explanatory either, but then again, a band whose songs have an average duration of ten minutes needs to be experienced to be fully appreciated.

The album opens with the longest song of the set, “In Mist She Was Standing”, which immediately bursts into a speedy riff selection sustained by Anders Nordin’s double bass drum (one of the main ingredients of the “Orchid” recipe), and right from the beginning, standard power chords are neglected in favour of dual guitar harmonies often joined by Johan DeFarfalla’s bass which acts both as the songs’ steady backbone and a third melodic instrument. After several dynamic and catchy riffs we are introduced to Mikael Åkerfeldt’s vocals, powerful yet very clear, here not as deep as they would become in future Opeth releases but still very recognizeable, and already capable of impressive performances (“And as a forlorn soul / It will fade awaaaaaaaaaaaaaaaaaaaaaaaaayyyyyYYYEEEEEEEAAAAAAAAAAHHHHHHH!!!” – listen and hold your jaw up if you can). He wouldn’t abandon this particular vocal style, though, as anyone who heard “Blackwater Park” or any other “new” Opeth release will recognize this as Mikael’s “screaming” vocals (I use the term very loosely here, as I can’t find any better ways to describe it). As the song progresses, the twin guitar attack – handled by Mikael himself and Peter Lindgren – never ceases to amaze, and even some brief and tasteful solos enter the picture. As the song reaches its first real break, we are enthralled by the album’s first acoustic passage, which in turn becomes yet another double kick / palm muting-based heavy riff, to decrease once more into an acoustic passage and dwindle away to give way to a totally new riff. Another trademark is the absence of keyboards, with the atmosphere being provided by the aforementioned acoustics (clean, precise and enhanced by a millimetric engineering) and some weird clean electric guitar effects. Most guitars are loaded with a slight reverb too, as well as Mikael’s voice, adding to overall effectiveness and feeling. After countless twists and turns with no room for one single forgettable riff, “In Mist She Was Standing” closes with a stunningly beatiful acoustic melody followed by an extensive, breathtaking instrumental grand finale, which to this day is one of the best sections Oeth have ever recorded in my book.

“Under the Weeping Moon” has a more psychedelic and generally creepy atmosphere, introduced by acoustic guitars before yet another switch into full distortion; the verse riff has a great groove, introduced by a clever break which isolates one of the album’s heaviest riffs (and yes, you gotta love that sliding bass note at the end!) joined n turn by the other instruments an dfinally by Mikael’s intense vocals. The song has a very long break in the middle, consisting of a looping acoustic arpeggio ornated by echoing licks and distortion feedbacks, until the drums kick back in and move the song on; some dissonant harmonies can also be found here and there, making this song the “weird” one of the set. However, the finale is once more overpowerng in its sheer beauty. First, a great acoustic melody which introduces us to Mikael’s clean vocals for the first time (unless you count that brief “aaaah” insert at the beginning of “In Mist She Was Standing”); then, more clean guitars and soft drums join the picture, and finally the dynamics shoot up for the superb closing riff; Miakel stated in the band’s site that the acceleration at the end (noticeable after Anders starts double-kicking) was merely unintentional, but what a wonderful mistake this is! Also note the great melody progression of the guitar – is that sublime or what?
Then comes a real rarity for Opeth: a piano instrumental, namely “Silhouette”, made even more suprising by the fact that it’s Anders playing it. This short but magnificent piece has some really fast fingering going on, as well as several different melodies and key changes to be found, and conjures a mystic, nocturnal atmosphere (once again, a slight reverb, if used tastefully, can do wonders). A little gem which should never be overlooked.

Next is one of band’s grand classics, “Forest of October”, a song of great historical importance when it comes to Opeth’s evolution from more standard Death Metal to what they are now. A very typical Opeth song indeed, in many ways. The opening riff already says enough: a slow, entrancing melody which the guitars don’t just play, but actually sing – a recurring feeling I get when listening to this amazing band. The song then goes into the usual feast of riffs and harmonies, with a lengthy intrumental middle section after the third verse which features a really spectacular sequence consisting a wonderful acoustic break followed by a very sudden acceleration which unleashes a spectacular solo… then, a lonely, sliding guitar melody echoes in the heart of silence, and finally another acoustic arpeggio answers the call, and so do all the other instruments. This part never fails to make me shiver every time, as well as the acoustic melody that follows. Finally, the dynamics go all the way up again and the vocals re-enter the picture, and more great riffs round off this masterpiece, closing with a final acoustic segment which is actually the second riff of the song performed on acoustic guitars (quite a rarity considering that early Opeth usually never repeat a riff twice, except ins ome isolated sections such as the beginning of “In Mist She Was Standing”).
“The Twilight Is My Robe” follows, and is arguably the album’s easiest tune to get into due to its high amount of catchy riffs. Kicking off with a rather fast and groovy section, it then slows down into a great bass arpeggio; Mikael starts singing “Unto you I whisper… the wildest dreams” but just as you expect another calm section, aggressive double bass drumming and distortion kick in an dMikael screams “…in the coldness of night!”, followed by one of the album’s best and most memorable riffs. There is, however, an acoustic passage, and it’s definitely one of the highlights of the album, made even more memorable first by another clean verse from Mikael and then by some great clean guitar melodies. A great bass break by Johan brings the song back to its original rhythm-driven pattern, sealing the spirit of the song as a clever series of slow-downs and dynamic boosts, further marked by yet another acutsic part followed by another superb bass lick and a full-force electric riff. The song’s finale comes with yet another acoustic part with Mikael singing and another powerful riff with a great solo at the very end. I am painfully aware at how this description makes the whole thing sound as terribly repetitive, but trust me, it’s as far from the truth as it can be.

“Requiem” is another instrumental break, short and fantastic, with the bass once more completing the awe-inspiring guitar work. Mikael wrote on the Opeth site that the beginning of the final track, “The Apostle in Triumph”, was actually meant to be part of this instrumental and ended up being where it is due to a mastering error (retained in the remastered version); it’s weird but to my ears it fits equally well at the beginning of the final track. Trivia apart, “The Apostle in Triumph” has a very slow beginning and is probably the album’s most fragmented and hard to assimilate episode, but by no means a throwaway track, especially considering that it has not one but two killer riff waiting at the end, with some more great clean vocal work.
The reissue of the album comes with a bonus track named “Into the Frost of Winter”, a rehearsal track dating back to 1992; despite the poor sound, it manages to capture a crucial phase of the band’s evolution, as among the heavy Death-Metallish riffs we recognize parts that would make their way to the band’s second opus “Morningrise” (the notes state that they were used for the album’s first track, “Advent”, btu I honestly don’t remember so exactly).

“Orchid” is a true work of art from a band that made excellence as its standard quality share. If you’re new to Opeth, you might want to check oput “Still Life” or “Blackwater Park” first, but in any case, don’t miss this out.

Orchid is the debut album of the famed progressive-death metal band Opeth. What makes them progressive? Opeth combine death metal vocals, folkish acoustic and distorted guitars, and regular singing. It’s an interesting mixture to say the least. Within each song are different passages varying from heavy distorted riffs with death vox, to quieter, acoustic sections. One wonders how they can combine all of these elements into individual songs yet still maintain some coherence. More importantly, the mixture does not seem out of place; all of it works in harmony.

The opening track In Mist She Was Standing has an excellent, almost upbeat feel to it, it also continues for a few minutes making it an eargasmic experience. You would not expect the song to then veer to the growled vocals of Mikeal Akerfeldt. If you are a non-metal head, you will loathe them upon hearing them. In fact, it may be the deciding factor on whether or not you actually get into the band. Patience is important; as most people are turned off by death vox the first time they hear it. The song clocks in at around fourteen minutes, and during that time the song moves between different passages. Frankly, the song could have easily been split into two or three separate ones and remain great.

Some people do not have the attention span for this kind of music however, and it is understandable. The problem I have with this album is its tendency to drone on and on in some parts (the atmospheric section in Under the Weeping Moon is a prime example.) Still, if you have the patience, Orchid is very rewarding.

Silhouette happens to be one of my favorite instrumentals; it’s a piano piece performed by the band’s drummer, Anders Nordin. It’s difficult to describe how beautiful this song is, but I can say that it reminds of me of something composed by Johan Sebastian Bach.

Speaking of exceptional talent, the bassist of Opeth, Johan DeFarfella, is phenomenal. I heard that he used a six-string, fretless bass while a member of the band. It definitely makes a difference, because the bass lines are top notch (listen to The Twilight is My Robe for an example of his excellence). It’s a shame that he was only with the band for two albums, because the prominent bass added so much to the music.

As a debut album, Orchid is excellent. My gripe is the lengthiness of some of the songs. It can be a tough album to sit through, however if you were to use this as “background” music while doing something else, it would work well. I would not recommend Orchid to an absolute beginner to Opeth for the reason listed above.

Highs: Excellent musicianship as a whole. Great instumental sections. Mixture of musical styles.

Lows: Can be a bit boring in some parts.

Final Comment: A good purchase for an Opeth fan. If you are new to the band, try Still Life first; it’s more accessible.

If there is one word to describe this album, it's "overrated," though if I could add other words, I would add "meandering, directionless, abrupt, and boring."

On Orchid, Opeth plays a mixture of Gothenburg metal and obscure 70s prog rock, more heavily leaning towards the latter. The problem is, it manages to combine the worst aspects of both and forego the strengths of both genres. Opeth simply lacks the aggression, power, and energy of death metal, and the sheer inventive energy and technical skill of the old prog bands.

10+ minute long songs, a variety of vocal styles, and acoustic passages make up the ingredients of Orchid. On paper, this should sound great, but what works with ELP, Rush, and Yes does not work with Opeth, since Opeth simply lacks the songwriting skill to keep things interesting throughout these huge 10+ minute pieces. The songs come off as tedious, stuck-together riff collages and acoustic passages stuck in there as an aftertnought. This album meanders so much without making a point that one is forced to wonder how large the cloud of cannabis smoke was in the studio that day.

That's not to say the band doesn't have talent. Ackerfeldt is a very good vocalist and the musicians aren't too bad themselves. But, you can have all the talent in the world and still produce a load of crap. Talent does not lead to the creation of fine art.