Considering the current musical course of the band, I have strong doubts we’ll ever get anything near this or Watershed ever again. An unfortunate fact (in my opinion), which definitely raises the value of these records – maybe even more so for Ghost Reveries than Watershed. Ghost Reveries is a special landmark which I recommend to any and all music lovers. Listy przebojów - Muzyka w INTERIA.PL - teledyski, koncerty, nowości płytowe, dobra muzyka, listy przebojów". Archived from the original on 8 October 2013 . Retrieved 8 August 2014.

What elevates all the aforementioned strengths to soaring heights is the performance aspect. While everyone is demonstrating great prowess and finesse, the shining star of Ghost Reveries is frontman Mikael Åkerfeldt. Even to this day, I’m baffled by the man’s vocal delivery. His clean singing voice is soothing, even ethereal at times. His growls are second to none. I mean, across the extreme musical spectrum, there are very few who come close but don’t quite reach such a level of demonic rendition. The Grand Conjuration, entire song, because it’s the only song on Ghost Reveries that comes close to the original Opeth songs. The album only partly portrays a concept, not fully arranged in the poetic manner as previous releases such as "Still Life" and "My Arms, Your Hearse". "The Baying of the Hounds" is partially inspired by lyrics from the song "Diana" from Comus's album "First Utterance". Initially intended to be another concept album, Ghost Reveries has something to do with a man who kills his mother, and Satan is involved because gotta love those metal stereotypes. The idea wasn’t fully carried through with, resulting in the “concept” being no more than the repetition of a few words and phrases scattered throughout the songs (e.g. “the hounds” and “the mire” are repeated often during GR). Either way, the common words and lyrical themes create a unifying effect, helping to hold together an album that is already quite cohesive.As it should happen, all of these themes are well translated into creepy, brutal, melancholic melodies. The first notes in the album, from Ghost of Perdition, already tell you all that should be said about this work. They speak of no hope, of that eerie calmness after destruction, and when the first riff explodes, along with Mikael's growl, comes the brutality that you expect from such an album. The traditional acoustic parts serve several purposes, and yet they are mostly sad or downright creepy, and this is a pattern followed by the whole album. The acoustic and heavy parts are randomly played, but the progression is never forced.

Lee, Cosmo (13 September 2005). "Opeth – Ghost Reveries – Review". Stylus Magazine. Archived from the original on 4 August 2021 . Retrieved 1 March 2021. The guitar work is really excellent, especially the riffs, though there is some good soloing too (The Baying of the Hounds, The Grand Conjuration). Ghost of Perdition and The Baying of the hounds have both more than one memorable riff, but nothing here can surpass the main riff of The Grand Conjuration. Beneath the Mire has an odd intro, one that isn't always likable, but it is nevertheless undeniably interesting. Keyboards are mostly well used, in quantity and timing. There is, perhaps, a bit too much use of mellotron, but it is not that problematic. The drumming is very varied, and this is what stands out the most. There are some really good groove bass lines, like the ones in Ghost of Perdition and The Grand Conjuration. The vocals on this album are by no means the flaw. Mikael Akerfeldt’s growls are brutal and aggressive as always, and his clean vocals are suberb and have definitely progressed since even the last album (which was sung completely with clean vocals). Akerfeldt has also proved his ability as a lyricist yet again. As mentioned above, this album has elements of all the previous Opeth albums. You will notice the BWP and Deliverance elements (Ghost Of Perdition and The Grand Conjuration). You will notice the Still Life and Damnation elements (Atonement, Hours of Wealth, Isolation Years). You will notice the My Arms, Your Hearse elements (The Baying Of The Hounds) and you will notice the Orchid and Morningrise elements (the amount of variations in some songs and Reverie/Harlequin Forest).Basically, it all boils down to one thing: their music is boring. Opeth are masters of crafting seemingly endless, plodding songs that are completely and utterly boring. The Grand Conjuration is an example of how the drumming is so good, I mean, Lopez doesn't try anything ultra-technical there, but the drum work sounds so EVIL, if you know what I mean. Blabbermouth.Net". Roadrunnerrecords.com. Archived from the original on 3 December 2005 . Retrieved 14 January 2012.

Keyboards by Per Wiberg, the latest addition to the band, add the much needed depth to Ghost Reveries, where he does not get overly involved, yet maintains a great balance. Peter: Sadly, I couldn't really tell how much Peter added since both him and Mikael play guitar on the albums BUT the guitar sound on this album, the riffage and the general atmosphere sent by this album is beyond comparison. Because of this... Peter.. we salut you :thumbsup: Ghost Reveries is an album that satisfies the listener. Be it the one looking for heavy, in your face sections, or the one seeking well composed mellow sections. It is where aggression and darkness become beautiful and where beauty shows its brutal face. Remarkable. a b Åkerfeldt, Mikael. "Opeth Chapter 10". Opeth.com. Archived from the original on 20 January 2008 . Retrieved 12 January 2008. As (nearly, there's Damnation after all) always in case of Opeth, the music is a combination of straightforward death metal with a progressive edge, more melodic and melancholic sections, and the calmest, mostly acoustic parts. On Ghost Reveries, all three are executed and combined with perfection and finesse, as the music can pass from crushing riffs and deep growling to acoustic guitars and clean vocals within 30 seconds, and it feels entirely natural. However, this time the focus is definitely on darker parts, even though there are four songs feeling – more or less – lighter than the others. The longest one of them, and actually also the longest composition of the album, called Reverie/Harlequin Forest, is an impressive work with a more melodic approach, some beautiful guitar leads and solos, and also an amazing combination of clean vocals and heavier riffs in the first part. It's still not void of heavier parts with growls, which are very nicely combined with the rest, but this time it's not the main part. This song also perfectly displays another strength of the album – the incredible use of keyboards and mellotrons. This is the first Opeth album recorded with Per Wiberg, and also the first “normal” album using the keyboards so extensively - they're present pretty much from start to finish of Ghost Reveries, they hardly ever take the lead, and greatly add to the whole sound. They're used to great effect in the heavier sections, just as the first half of The Baying of The Hounds and intro/outro of The Grand Conjuration, but obviously, it's the lighter parts in which they have more space and importance.

On The Go

As for the production, I’ve heard better ones. It’s beautiful if the music creates a bit of “gap” between you and the music. But Ghost Reveries sounds so close and direct, it’s like they’re pushing you against the wall. Also, everything sounds so sorted out and under controle. Computer-generated silence, lead and rhythm guitar at exactly the same volume, the growls even seem to sound softer than the clean vocals. It would be more beautiful, and less boring, if it were a bit rough. This album just seems too decent, especially for an EXTREME prog band! The Grand Conjuration' Video Posted Online". Blabbermouth.net. 2 September 2005 . Retrieved 2 June 2014. The climax comes with “The Grand Conjuration”, the power metal overload that every Opeth fan craves, and it doesn’t disappoint. The band would have been justified in closing the album with this monster outing but chose instead to leave with the almost tearful “Isolation Years”, affirming the band’s commitment to contrast in colour and theme.

Speaking of mellotron, it is here in abundance. Beneath The Mire, Hours of Wealth...nah forget it, all the songs have mellotron floating all over the place, and it's used quite well. That brings up another point: Opeth is really in touch with their prog side here. Mellotron everywhere, keyboards as well, lots of variety in the songs, creativity in heaps and mounds, great harmonies and technically difficult music, everything a 70s classic like Selling England By The Pound or Red has this album has just as much of. I'd even go so far as to say it's more creative than some of Genesis's efforts, and definitely ELPs. King Crimson and Yes still beat it out though, which is why I love them too. The second Solo of the guitar and keyboard in the Baying of the Hounds, very good timing and a very good solo either!Jurek, Thom (2005). "Ghost Reveries – Opeth". AllMusic. Archived from the original on 20 October 2017 . Retrieved 15 November 2017. Another key factor that makes Ghost Reveries what it is, is the top notch production, one of the best I've ever heard. All the instruments are audible (the bass is a bit low, however) and the album has a powerful sound, with the guitars assuming, obviously, the biggest role. The keyboards aren't too loud, but they are still there, very audible, also assuming an important role on the record, giving, as I've already said, a fresher and warmer atmosphere to the album. The drums sound great too, we finally hear clearly Martin's bass drums, yay!