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Opeth - The Roundhouse Tapes (2007)


Empezamos la semana a lo grande, con un demoledor CD doble en vivo. Otra semana con mucho trabajo en la Escuelita de Rock, con muchos discos escandinavos con nuestra materia Finlandia, así que estos suecos no desentonan para nada en nuestra saga nórdica. Uno de los mejores discos del 2007 a mi entender, una obra maestra de los suecos.

Artista: Opeth
Álbum: The Roundhouse Tapes
Año: 2007
Género: Metal extremo progresivo / Rock progresivo
Nacionalidad: Suecia


Lista de Temas:
CD1:
01. When
02. Ghost Of Perdition
03. Under The Weeping Moon
04. Bleak
05. Face Of Melinda
06. The Night And The Silent Water
CD2:
01. Windowpane
02. Blackwater Park
03. Demon of the Fall

Alineación:
- Mikael Åkerfeldt / vocals, guitar
- Peter Lindgren / guitar
- Martin Mendez / bass guitar
- Martin "Axe" Axenrot / drums
- Per Wiberg / keyboards, vocals




Y seguimos con la saga Opeth. Este disco fue el primero que escuché de la banda y si bien aún me repele la voz gutural y nunca me pude terminar de acostumbrar a ella (les cuento que la escuché en mi temprana adolescencia con el black metal ponzoñoso de Venom, creo que los primeros que utilizaron este tipo de recursos vocales) lo que me asombró de este disco fue la nostalgia, delicadeza y elegancia de sus partes más melódicas. Obvio que desde ese primer momento ya lo consideré un discazo y uno de los mejores discos que salieron en ese año 2007.


The Roundhouse Tapes es un doble Álbum en directo de la banda sueca de Death Metal progresivo Opeth. El CD fue grabado el 9 de noviembre de 2006 y lanzado al público el 5 de noviembre de 2007 en Europa y Australia (20 de noviembre en el resto del mundo). Una versión en DVD del álbum será lanzada a principios de 2008.
El título del álbum es un juego de palabras con el nombre de la primera grabación de Iron Maiden (The Soundhouse Tapes), al igual que el local donde fue grabado, The Roundhouse (Camden Town, Londres). Según palabras de Mikael Åkerfeldt: "nuestra actuación en Roundhouse será por siempre un hecho memorable para nosotros por muchas razones, pero la más importante, cogió a la banda en la cumbre del tour de Ghost Reveries".
Wikipedia


 
Ya a esta altura creo que no es necesario hablar de esta banda, para presentarla (imagino) a aquel nostálgico proghaed setentoso que visita nuestra espacio y desconoce de las manifestaciones actuales del género. Del CD, es un tremendo disco en vivo, con excelente sonido, de una excelente banda que a mi gusto es demasiado perfectita, y da pocas oportunidades a las maravillas que salen por única vez en las improvisaciones. Claro que a veces las improvisaciones no salen tan bien, pero como ya dijera un músico de piel oscura varias veces citado en el blog; toda equivocación es una nueva oportunidad. Estos grupos están demasiado atados a su esquema como para permitirse una libre improvisación de esas imprescindibles mientras más cerca del jazz te encuentres, pero convengamos que son un relojito y la interpretación de sus canciones son prácticamente perfectas.

Creo que pocas veces he sentido tanta ilusión al desempaquetar algo como cuando por la mañana empecé a quitarle los precintos a mi copia de The Roundhouse Tapes recién llegada de Inglaterra (comprada en la subtienda de Peaceville en Burning Shed, bastante bien de precio y muy bien embalada, ya de paso). La anticipación me era extraña teniendo en cuenta que hace ya un año salió la edición en doble CD del ya mítico concierto de la banda sueca en el Roundhouse londinense (ya hacía un año entonces…estamos hablando de un concierto que se dio ¡el 9 de noviembre de 2006!), pero después de publicar Watershed este año ya no hay nada suyo que no me emocione.
The Roundhouse Tapes es una retrospectiva en directo de la carrera del grupo, mostrando a una banda engrasadísima (poco que ver con los Opeth de Lamentations, un concierto con alguna que otra gamba) dando una lección de elegancia y musicalidad en un recinto único: a la excelente interpretación de la banda hay que añadir el plus de tocar en una sala tan bonita e impresionante. Obviamente, si no fuera por la excelente calidad de la filmación no podríamos apreciar todo eso, pero está todo cuidado hasta el último detalle.
Filmación, interpretación, recinto…todo pinta bien. El setlist del concierto es el siguiente punto fuerte, y es que, salvo Deliverance, todos los discos del grupo son retratados a lo largo de la noche. Eso implica cosas como una interpretación de The night and the silent water espectacular (muchos recordamos la frase posterior: “Lo que tienen que hacer es regrabar el Morningrise“) o una Under the wheeping moon para quitarse el sombrero. El resto de temas son bastante más clásicos ya, aunque para mí meter Blackwater Park en el repertorio es un sueño hecho realidad.
A todos estos detalles hay que añadir que Mikael Åkerfeldt se sobra por los cuatro costados en su papel de cantante, guitarrista y frontman. Sobre el escenario destila simpatía, dirige el devenir del concierto a base de toda clase de bromas y chorradas y se gana al público con su verborrea humorística. Podría decirse que es adorable el tipo. Sus compañeros apenas si hacen una inclinación de cabeza cuando son nombrados al presentar el grupo, pero el que su entrega al grupo consista únicamente en tocar de forma espectacular no me parece mal en absoluto :D.
Como colofón encontramos los extras del DVD, que en su edición especial viene en una slip case preciosa, acompañado por un libreto extra además del que ya viene pegado en el estuche del disco y por unas postales de cada miembro. Todo ello firmado por Travis Smith, que en mi opinión ha hecho uno de sus mejores trabajos en estos libretos. Así pues, cuando terminemos de ver el concierto o de admirar la presentación del conjunto, podremos ver unas breves entrevistas a la banda, a los fans, ver la prueba de sonido y para terminar una galería de fotos de aquella noche.
Si a esto le añadimos que hay dos piezas musicales nuevas, Infinity 1 y 2, que corren a cuenta de Åkerfeldt y Per Wiberg y que amenizan los menús del DVD, creo que poco más queda que decir salvo lo obvio: a poco que seas seguidor de Opeth, The Roundhouse Tapes es un auténtico lujo a un precio perfectamente asequible (por 22€ más gastos de envío he comprado yo la edición de lujo en la web que pongo al principio), y un completo disfrute para oídos y vista.
ballener0

No mucho más por decir, al que le gusta la banda esto le va a quemar la cabeza, a quien lo le guste ni lo va a escuchar y al que lo descubre ahora tiene un montón de videos para conocernos, aquí mismo en el blog cabezón. Por lo tanto voy cerrando este post con algunos comentarios en inglés para quienes tengan interés en leer un poco más.

Ghost Reveries is the first live album from swedish prog metal masters Opeth (without counting the DVD only Lamentations). It was recorded at The Roundhouse in London during the Ghost Reveries tour, but features only one song from that album.
The music is very good, mostly old tracks (4 of them are from the first three albums) and then a few newer ones. As I already mentioned, one major disappointment is that it features only one track from their phenomenal album Ghost Reveries , the title track. I was excpecting to see some of the (imo) better tracks from that album, like Harlequin Forest or The Grand Conjuration. Anyways, fantastic setlist. And the performance is just as great. This is their first album with their new drummer Martin "Axe" Axenrot. He is good and proves that he can handle the tracks well, but he does not have as much style and smoothness that Martin Lopez (the previous drummer) had.
Highlights are are actually the older tracks, wich sound much better here than on their original records, and the epic Blackwater Park.
The production is excellent, the audience is mixed at a proper volume, and the tracks have a good, organic sound. This is a fantastic record, but it could have used some more new tracks. 4 stars.
idiotPrayer


Despite I'm a huge fan of Opeth I can't help but think that this record isn't as good as the other reviewers pointed out. It's not the musicianship that annoys me; no, every song here is played without flaws or mistakes, the guitar interplay between Akerfeld and Lindgren is perfect and so is the drum work by Axenrot. The keyboards and bass are also very well played, so what's the problem?
The big problem about "The Roundhouse Tapes" is its durability. You won't listen to this album too many times, that's for sure, mainly because the studio versions are much more enjoyable and carry a better atmosphere than the live numbers. Atmosphere, yes, that's the right word, that's what this album lacks; Opeth is a "studio band", is a band that creates songs that need a certain sound and special atmosphere. The majority of the group's songs are melancholic and dark, and I can't get those feelings from this live album, the songs sound somehow... different.
But, hey, this piece isn't that bad, all in all! As I've already said, the musicianship is great, every song is played FLAWLESSLY, and that's saying something because songs like "Ghost of Perdition" or "Bleak" aren't easy to play at all. Mikael's clean voice remains as beautiful as on the studio albums, just listen to his vocal performances on "Face of Melinda" and "Windowpane"... Beautiful! On other hand, his growls sound a bit weaker here than on the studio albums, sometimes he even stops growling during the songs, it's like he's slowly losing his harsh voice. Anyways, a fantastic performance overall.
Mikael also constanly delivers some nice jokes that keep the listener happy and interested. I especially like the small musical section that the band plays after "Blackwater Park", in which Mikael presents the band. That part is absolutely hilarious, especially when he calls Martin Mendez "the legend from Montevideo, Uruguay!" and Axe "a pretty (or cute, I can't remember now) guy". Another funny bit is when he asks the crowd, in his monotonous voice, to "shut the fuck up" during "Face of Melinda".
So, highlights? "Ghost of Perdition" is absolutely nailed, which is impressive since that song must be one of the most demanding tracks Opeth ever written and recorded. Kudos to Legolas, pardon, Axe, for the flawless performance during it! "Face of Melinda" is really nice too, with an extended jazzy intro and outro. "Windowpane", the song that "will bring chicks to Opeth's backstage", is another highlight: great keyboards, Per! "Under the Weeping Moon" is another personal favourite, the breakdown sounds even better here than on the studio (the production of "The Roundhouse Tapes" is 10000 times better than the one of "Orchid"). On other hand, the biggest disappointment is the allmighty "Demon of the Fall", which is ruined by the poor growls of a tired Akerfeldt. Anyways, the crowd interaction is a plus.
Concluding, despite the great production and overall performance, this record won't hold your attention for many time, that's for sure. It's an enjoyable album, though, if you like live records I recommend this one, also because the tracklist has songs of almost every Opeth album (I miss a "Deliverance" track, though, I absolutely love "Deliverance"). Ah, I would like them to perform "The Moor" or "Atonement" too, but oh well...
One last word to the stunning artwork, Opeth got be one of the best bands out there, artwork-wise (Iced Earth occupies the second place, perhaps).
Best Moments of the CD: -Mikael's jokes.
If you're a big fan of the band, get it, but if you aren't, search for other records.
Henrique


I was particularly looking forward to Opeth's new live album, The Roundhouse Tapes not only because I think Opeth are one of the finest bands working in the Prog Metal genre but also because I wanted to hear if new Drummer, Martin Axenrot was capable of replacing the excellent Martin Lopez. Well perhaps a live release isn't going to be the best comparison against Lopez' studio performances so I'll reserve full judgement for Opeth's next studio album but initial impressions are good. I didn't doubt they would find someone capable of the heavier more bombastic moments but Lopez knew when to hold it back and injected a lot of subtleties into his playing. Fortunately Axenrot seems to have grasped the importance of this and gives it a good shot.
But what of the performances of the rest of the band? Well in the main I'm pleased to say very good indeed which you would expect from a band containing the calibre of musicians as in Opeth and overall the production is good too. We get a diverse choice of material here with at least one track from each of Opeth's eight studio albums with the exception of Deliverance.
Surprisingly this double disc set opens with When from their 1998 album, My Arms, Your Hearse but it turns out to be an inspired choice, great riffs, rolling double Bass Drums, lots of changes and their lighter interludes too. I prefer Akerfeldt's clean vocals over his Death Metal growls though he is one of the better purveyors of this style.
One of my favourite tracks by the band is next, Ghost of Perdition from their most recent album, Ghost Reveries. Unfortunately it comes across as a little flat here which is a shame.
Orchid has always been my least favourite Opeth cd but Under the Weeping Moon is a pleasant surprise here and I found myself warming to it considerably. The other three tracks are all well performed too, the first disc closing with a dynamic version of The Night and the Silent Water from Morningrise.
The second disc is somewhat shorter at thirty five minutes and only contains three tracks. Perhaps I'm being greedy but an extra couple of tracks could have really rounded it off nicely, something from Deliverance perhaps. Still, a minor complaint as it opens with Windowpane from Opeth's excellent and more mellow Damnation album. The mood soon changes though as we head into a powerful version of Blackwater Park from the album of the same name, one of the bands most celebrated songs.
Coming full circle we're back to the My Arms, Your Hearse album for a cracking version of Demon of the Fall.
There's not too many live albums that get me excited these days but Opeth have produced one of the better ones of recent years. With a beautiful fold out sleeve this album is a must for any fans of the band. Apparently it is also going to get a DVD release in the New Year which is great news.
Paul Fowler

A word of warning here: this review does not come from a long-time fan of the band, or even from a prog-metal expert. As a matter of fact, I got into Opeth only recently, and so far I have only heard two of their studio albums ("Damnation" and "Ghost Reveries" to be precise). Therefore, I apologise beforehand for not writing a very detailed account, filled with accurate references to the band's output, or comparisons between studio and live versions. My review will mostly be based on my personal impressions as an Opeth and prog-metal novice, though one who is more than willing to learn more about both the band and the genre.
The first Opeth live album comes in a stylish, sepia-toned package that reprises the Gothic-themed artwork of their last studio offering, "Ghost Reveries". Far from being fixated with gore and violence as so many 'typical' death metal outfits , Opeth have always presented themselves as a classy, erudite band, taking their inspiration from fin-de-siècle literary sources rather than from anatomy manuals or serial killer stories. Their music reflects this image - a blend of elegance and aggression, hard-edged and complex, rich with classical and ethnic influences, the latter probably due to the mixed background of some of the members.
"The Roundhouse Tapes" is a great showcase for a band who haven't yet attained the peak of their creative powers. It includes tracks taken from all of Opeth's album except "Deliverance" - CD2 being somewhat shorter than CD1, and featuring only three songs. Per Wiberg's keyboards are very much in evidence throughout the record, adding texture and depth to the band's dark, sometimes claustrophobic sound. On the other hand, Opeth can do melody as well as other, less metal-oriented bands - their secret weapon being Mikael Åkerfeldt's amazing 'clean' vocals. Though I would be lying if I said that I am a fan of death growls, I have to admit that Mikael's growling is really in a class of its own. However, his 'singing' voice is undoubtedly one of the best in modern prog bar none, his velvety, melancholy baritone somewhat reminiscent of another great prog singer, though from a completely different genre - Canterbury icon Richard Sinclair. In addition to his skills as a vocalist and a composer, Åkerfeldt is possessed of the sort of dry wit that very few people would associate with death metal, which makes his between-song banter quite refreshing, even endearing. Check his presentation of elegant, melancholy ballad "Windowpane" - "this is a song that will get us chicks backstage"!
Even though some hardcore fans will object to the omission of some track or the other, the songs selected for "The Roundhouse Tapes" represent the best of Opeth's output. Most of them exhibit the band's trademark brooding, crushing intensity coupled with moody, rarefied atmospheres and exquisite melodic breaks. On the other hand, the aforementioned "Windowpane" (from Opeth's 'official' prog album "Damnation"), and the hauntingly gorgeous "Face of Melinda" (from "Still Life") forgo heaviness altogether, showing Åkerfeldt's more sensitive side.
While fans patiently wait for the release of the band's next album, "The Roundhouse Tapes" captures Opeth at a time of change, after the departure of two key members. In spite of that, they sound very tight and cohesive, and - even more important - they clearly enjoy being onstage and communicating with their audience. As an almost absolute beginner, I am curious to see what new paths they will take with their new release. In the meantime, open-minded progsters will find a lot to enjoy in this excellent live album.
Raffaella Berry

The Roundhouse Tapes was a fairly overlooked live album, which is a shame. It's understandable, though. After all, a live album coming out on the heels of not one but two lineup changes. Modern drum genius Martin Lopez quit due to the panic attacks his medical condition brought on. Then, guitarist and Mikael's founding partner Peter Lindgren left due to his apprehension at Opeth's mounting fame. This album captures one of his final performances. Inevitably, these lineup shifts make this live album look like a quick attempt to make a greatest hits disc in case the new lineup can't bring the fans in. Happily, this is a more than solid outing and even the coldest cynic can't deny these guys gel together.
The setlist reminds me of Dream Theater's Score in that it takes a song from each of Opeth's albums (save Deliverance) rather than go for a greatest hits collection. It gives you a great cross-section of the band's sound: a blend of intensely heavy metal and haunting acoustic folk, propelled by jazz metal drumming and Mikael's unique voice. Åkerfeldt has hands down the best growls in extreme metal, but his greatest asset is his range. His 'clean' vocals are so penetrating and deeply haunting that they are far more terrifying than his growls. He's also a rather funny guy, quipping with the audience and even chastising some fan that yells Free Bird!.
Somewhat ironically, when I was done listening to this I found myself that they had released a big greatest hits type live album instead. They were so good I didn't want it to stop with the 9 songs we get. I was a little concerned at how well their complex arrangements and rapid vocal style changes would play in a live setting, but these guys nailed their set. They easily switch from crushingly heavy tunes like When and Demon of the Fall into softer numbers like Face of Melinda and Windowpane. They also handle complex numbers like Ghost of Perdition and Bleak with panache.
All in all, a great live album, but by no means a perfect one. It's too short (which can't hurt the album's quality, but I can't help wanting more), and the songs don't really differ from their studio versions. Listening to this just makes me look forward to their next project even more.
Jake Cole

Hard to believe that this is OPETH's first live record. Maybe that's why they made it a double,while dipping into 7 of their 8 previous studio albums for material. Which is no small feat considering there are only 9 songs on this double disc set. The only album that isn't represented is "Deliverance".This was recorded in London during their "Ghost Reveries" tour which would be the last tour for lead guitarist Peter Lindgren before he would leave the band.Travis Smith creates another amazing album cover.
Things get started with "When" from the "My Arms, Your Hearse" album. You can hear the restless crowd noises as the sounds of guitar start to rise from the stage with the audience roaring their approval. A crushing 3 minutes of metal and growls is replaced by a beautiful interlude followed by clean vocals for the first time after 7 minutes.These guys really pull it off live the way they change from brutal to beauty in a flash. "Ghost Of Perdition" from "Ghost Reveries" is next with again the contrast of brutal vocals and crushing instrumental work with the mellow,melancholic passages continues. It sounds like flute 7 minutes in. "Under The Weeping Moon" is from their first record called "Orchid". Akerfeldt announces that the lyrics are really black metal nonsense. The atmosphere 3 minutes in is spine tingling and it continues for 3 1/2 minutes. A mellow section ends the song. "Bleak" from "Blackwater Park" is my second favourite song on here. I can't play this one loud enough. Akerfeldt actually sounds like Steven Wilson after 3 minutes. This is such an emotional track for me. "Face Of Melinda" from "Still Life" is my third favourite song. The first 5 1/2 minutes are quite reserved actually and then the power is turned way up with some great guitar to end it. Akerfeldt named his daughter Melinda. "The Night And Silent Water" is from "Morningrise". As Akerfeldt tells the audience a story he can't handle the crowd noise and tells them to Shut the f#*@k up in a calm slow voice, then goes on to tell them that he brought a lute to the recording studio for that album but never used it. So where you hear the guitars at the beginning of the song that is where the lute would have been played. A crushing wall of sound a minute in as Mikael spits out the lyrics. A calm 3 minutes in as contrasts continue. "Windowpane" is from "Damnation" and is my favourite tune on here. This is so melancholic yet so gorgeous. Mellotron like waves after a minute and later after 6 minutes with mournful guitar melodies in tow. "Blackwater Park" is heavy going until 3 minutes in when it becomes pastoral. A powerage comes in after 6 minutes with growly vocals. Great track. The band is then introduced by Akerfeldt while for over 5 minutes we hear them play this mellow background music which happens to be them covering "Through Pains To Heaven" by POPOL VUH from their "Nosferatu" record. Cool. OPETH end the evening with "Demon Of The Fall" from "My Arms,Your Hearse" which is very brutal sounding for the first 5 minutes before a pleasant melody arrives.
OPETH fans shouldn't even hesitate about getting this one. A solid 4 stars.
John Davie

An excellent adrenalin generator ..!
One thing I love about Opeth is the combined hard-edge rhythm section, ambience, growling vocal and the normal one, sudden breaks after full blast of metal music vein. I was only impressed by the band when Steven Wilson of Porcupine Tree got involved in the album making. That's because of at first I did not like anything that growls. But Mikael Åkerfeldt's growling is different with any other metal music. So since then I love the music of Opeth because it has everything: power (for sure!), energy, complexities and melody!
This live set provides songs with this kind of characteristics. This Swedish band's latest opus is the 2 CD live set The Roundhouse Tapes, which was recorded in November of 2006 at London's Camden Roundhouse during their Ghost Reveries Tour. There are only 9 songs on the 90 minute set: six songs on CD one, while another 3 songs on CD Two. A DVD version of the concert is scheduled to be released in early 2008.
This concert is like a representation of their albums with only "Deliverance" not being represented. The opening track "When" and "Demon Of The Fall" are taken from their "My Arms, Your Hearse" (1998). It's really uplifting to start the live concert with a full blast music like "When" where you can hear all the heavy sides of Opeth and the slow parts as well. As this is live concert, I like the fact that this was taken from the live concert. Even though the arrangements are exactly the same with studio version but I can feel the live vibes. Actually, this track starts something like any other metal band deliver: high-tension rhythm section with drive and energy, full blasted with all instruments they play, followed by low register growling vocal (this is really cool .!!!).
The next track "Ghost of Perdition" refers to their "Ghost Reveries" album and as the opening track this one starts with full blast and in fact more complex than the first. It then moves into a musical break with soft riffs like Tool has normally performed in their music. But Opeth is of course different from Tool, musically. "Bleak" provides a kind of break as the previous tracks are truly heavy one. This is not to say this track is mellow, but it's softer as compared to previous ones. I enjoy the ambient of this track, really! There is also track with softer style like "The Night and The Silent Water".
For me personally, "Blackwater Park" is something of special due to the fact that I like the album very much. It has everything that heavy music offers: solid rhythm section and riffs, nice groove and soul, good flow of music coupled with well managed transition pieces involving great guitar riffs and solos. This is suitable for those of you who like long duration track with many passages ranging from soft part as well as heavy part, growling as well as normal vocal line. And everything is blended nicely in the tight composition of the music.
The overall performance by Opeth on this CD is excellent. The arrangements are very similar to the original recordings, and the sound quality is excellent too. I cannot wait the issuance of the DVD! Mikael Akerfeldt speaks quite a bit between songs, and you can hear some crowd noise. The Roundhouse Tapes is a good offer before the band release their new studio album.
Gatot Widayanto

Could have been (a lot) better
Live albums are usually tricky to rate for 2 reasons, mainly: 1) you probably were not there, so you lose a great deal of energy from the gig only listening to it (you don't have human contact, you can't see the band play, etc) and, therefor, your whole perception of the show is considerably narrowed; 2) you may not like the whole setlist, think they left some song behind or that they didn't played the song you like the way you like. One way or another, all live albums will have those 2 problems in some degree, and Opeth's only live album to date, The Roundhouse Tapes, is no exception to that rule.
Though Opeth made a great job by playing songs from almost every album they released (there is not a single song from Deliverance), thus trying to please every kind of fan they have, i think they should play a longer concert because there were a big number of songs that were left behind, like The Drapery Falls or The Moor, my favorite Opeth songs. The Moor would actually make a better opening song for the gig than When, that should be played right after, and The Drapery Falls would make a better closing song than Demon of the Fall, so it should be played right after Demon of the Fall. Maybe with those two songs I would rate this live album as a masterpiece, but who knows. . . However, the setlist of The Roundhouse Tapes is not so bad after all, being reasonably pleasant for every Opeth fan.
This live album also have some pretty good features, like the participation of Per Wiberg and his keyboards / organs in every song, making all old Opeth songs even better than what they were, probably because he uses the keyboards in a non-intrusive way, making, mainly, the harmonic basis for all other instruments, what makes the music sound thicker or gives it more energy, but not in an aggressive way.
Another good feature of this live album is that you can see (hear) in first hand Mike Ankerfeldt good humor and sympathy towards the fans and the audience in general.
The Roundhouse Tapes also show us how the band is made of competent live musicians: not a single mistake in the instrumental department nor in the vocal department. About the vocals, it is important to note that Mike Ankerfeldt vocals are even better live than in studio, because (or, at least, it appears to be so) the thrill of the live concert makes him sing and growl with more emotion.
The highlights go to: Ghost Of Perdition, Bleak, The Night And The Silent Water, Windowpane and Blackwater Park.
Grade and Final Thoughts
The only live album released by Opeth is a good enough album by itself, without adding any song i mentioned. There is no question that the band has the potential to meke a better album still, so to rate this as a masterpiece would be a mistake. For those reasons, 4 stars seems a fitting grade to me.
Caio "Dot" César

'The Roundhouse Tapes' - Opeth (8/10)
Having been lucky enough to see this fantastic band live in concert, I naturally compare any recorded live material this band has to offer to the actual performance I witnessed. Unfortunately, despite the fact that the band is one of my favourites (at the time of writing this review; third favourite band after Dream Theater and Porcupine Tree) I was a bit dissapointed with the live concert I went to see. The sound was not that great, their setlist was a bit harsh (skipping great songs like 'Serenity Painted Death' and 'Ghost Of Perdition' for less memorable songs such as 'Wreath') and while Mikael Akerfeldt's performance was fantastic (his humourous banter with the audience was among the most memorable parts of the show) the band's performance as a whole sounded a bit sloppy.
As a whole, it was a bit dissapointing to see one of my favourite bands live and realize that they are only 'fantastic' as a studio band. As well, the 'Lamentations Live' CD I have also affirmed my belief that the band isn't too great live. Keeping all of this in mind, it came as a suprise that 'The Roundhouse Tapes' actually turned out to be a fantastic recording of a great performance.
The band is in top-gear for this show. I must have missed the band at their peak when I went to see them live, but 'The Roundhouse Tapes' is a real treat for any fan of the band's work. There is everything you can hope for in an Opeth concert, including Akerfeldt's famous wit.
While there's still alot of stuff here I prefer in studio (I am rating this from a live-album perspective) there's actually stuff here that sounds alot better live than it EVER did in studio. In particular, 'Under The Weeping Moon' is a fantastic Opeth song, but it was hindered at the time of it's studio recording by rather lacking production quality (a burden that the entirity of 'Orchid' suffered from, unfortunately...) but live, one can appreciate the composition to it's brim. 'The Night And The Silent Water' is another gem from the performance; the epic finale in particular. The build-up is complimented greatly by the reverb that the venue gave the instruments; an effect that can't be replicated in studio without sounding contrived and lame.
While this isn't 'essential' in the overall kingdom of progressive music, as far as live progressive music goes, this is one of the best live albums I've listened to in the genre, or even metal for that matter. Great renditions of a great set-list.
Conor Fynes

A Very Nice Taste of Live Opeth
Anyone who has seen Opeth knows what a great live act they are. They play their complex music note-perfect, and if anything the energy is better live. Mikael's growls are spine-numbing live and the crush of the guitars is immense. Mikael has a great extremely dry, dark sense of humor that offsets the serious music quite well. My biggest beef with the band live is that the softer parts sometimes seem a little weak. Luckily, this has been fixed in production on The Roundhouse Tapes. So we get Opeth in their full live glory.
This album was recorded after the Ghost Reveries tour, with Per Wiberg on keys as a full time member by this point. His presense makes "Faces of Melinda" actually better than the original (I always thought the production on Still Life was a little weak anyway.) He also provides some atmosphere during the interludes and harmony vocals. Martin Axenrot is behind the drumset and though not as jazzy as his predecessor, is still very heavy. This is the last album featuring guitarist Peter Lindgren.
The track list features a nice variety, with "Ghost of Perdition" clearly taking center stage. Other standards like "Bleak," "When," and "Windowpane" are well done, but the treats are the less played songs like "Under the Weeping Moon," and "Demon of the Fall." The version of "Blackwater Park" is crushing and brutal, just as it should be.
The jokes are typical Mikael, but you also get the sense that he really enjoys what he's doing and is genuinely grateful to the audience. The sound on the album dances the line between the live rawness and being cleaned up quite well.
Bottom Line: Great Live Album. No weak moments, and at least one song substantially better than the studio recording.
Jay Brieler

I bought this live album completely out of the blue, just around the time of its release, not knowing more about it than the fact that it was another Opeth release which felt welcome since it's been already two years since Ghost Reveries.
The Roundhouse Tapes features Opeth in their transition phase when new drummer Martin "Axe" Axenrot made his first recorded appearance after the departure of Martin Lopez plus Peter Lindgren was still in the band. The change of drummer usually makes a huge change in a a band's sound, a change that can only be surpassed by a vocalist change. Luckily this time it didn't feel all that extreme since The Roundhouse Tapes doesn't feature any new material meaning that the rest of the band has not yet been affected by the impact of a new drummer even though Axenrot seems to sound on the heavy side in comparison to his predecessor.
The Roundhouse concert gives us a set-list of 9 track spanning from every album of the band's career with the exception of Deliverence and with a slight emphasis on the albums My Arms, Your Hearse and Blackwater Park. Even though I would have liked to hear some material off Deliverence it was even more exciting to see how material from the band's first three albums would sound together with their later stuff.
The concert began with the third album's When and it's an excellent rendition of the great but not as interesting studio take. This might have to do with the energy that Opeth delivers in their performance or just the mere fact the underlying keyboard sounds make the textures seem much thicker in comparison to the original. Ghost Of Perdition does sound more vitalized than its studio counterpart but ultimately it doesn't add anything all that new to the track we know so well. Under The Weeping Moon definitely sounds more intense than the way it played out on the debut album while Bleak felt just that in comparison to the excellent production sound that was offered on Blackwater Park plus I don't like how it ends so abruptly. Face Of Melinda was another great surprise since I honestly didn't expect this much emotion to be put into the live performance which ultimately resulted in another highlight. I also have to add that I find Mikael's "thank you" at the end of the performance sound hilariously robotic which is just one of those spontaneously fun moments.
Mikael also jokes around about how pretentious he was back in the and The Night And The Silent Water definitely shows some of those qualities even though this live take enhances its sound. Towards the end of the show Mikael becomes even more talkative which is both a hit and miss for me. The generic joke he pulls before Windowpane is just plain stupid while the one before Blackwater Park actually put a smile to my lips. I should also mention that anyone expecting to hear a 19 minute version of the track will be disappointed since the last 7 minutes consist of a band introduction. Demon Of The Fall is another interesting rework of the My Arms, Your Hearse although this one is much more heavy and doesn't incorporate the keyboards all that well.
Overall this live album shows that the band has a great back catalog of material and even though they didn't play that many of my personal favorites Opeth still managed to make me notice new things about some of their older classics that I so bluntly overlooked during my exploration of the studio material. Simply put an excellent addition to any prog rock music collection!
Alexander Peterson







Comentarios

  1. Fueron una excelente banda, para mi opeth se termina con watershed,para la música que componen hoy prefiero escuchar a camel.

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Autonautas de la Cosmoogpista...


Este espacio fue gestado con la intención de compartir sonidos, melodías que nos conmueven día a día, que nos reciben al abrir los ojos, quizás para muchos el primer contacto con la realidad, antes que un mate o un desayuno como la gente. Estos sonidos nos causan extremo placer y por eso queremos convidarles un poquito, para juntos escapar a la dominación del hemisferio izquierdo.
Pasen, vean, lleven lo que gusten. Pero si tienen la posibilidad de hacerse con el material tangible, no lo duden, es la forma que tenemos de colaborar con los artistas para que sigan creando.
Sí alguna persona o ente se siente ofendido por encontrar material en este sitio le rogamos nos lo haga saber, todavía creemos en las palabras.
Si por alguna razón no pueden leer estas lineas, usted ya no es, usted ya no existe, usted tiene un moog en la cabeza.


Aclaración...

Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).

Información y estadísticas









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Blue Mammoth - Stories of a King (2016)

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Artista: Blue Mammoth Álbum: Stories of a King
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Anekdoten - Live In Japan (Official Bootleg - 1998)

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Artista: Anekdoten Álbum: Live In Japan (Official Bootleg)
Año: 1998
Género: Rock progresivo
Duración: 110:34
Nacionalidad: Suecia

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The Incredible String Band (II): La Historia de la Increíble Banda de Cuerdas

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Año: 2003
Género: Rock Progresivo
Duración: 46:19
Nacionalidad: Suecia


Son suecos y como habrán visto a lo largo de la historia de este blog, la …

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Artista: Alma Nu
Álbum: A…

Anekdoten - Waking The Dead, Live In Japan (2005)

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Artista: Anekdoten Álbum: Waking The Dead, Live In Japan
Año: 2005
Género: Rock progresivo
Duración: 78:49
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Unordered List

"La desobediencia civil es el derecho imprescriptible de todo ciudadano. No puede renunciar a ella sin dejar de ser un hombre".

Gandhi, Tous les hommes sont frères, Gallimard, 1969, p. 235.

Entradas populares de este blog

Denuncia en Primera Persona. El Desprecio a la Discapacidad

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Esbjorn Svensson Trio - Live In Hamburg (2007)

Artista: Esbjorn Svensson Trio Álbum: Live In Hamburg
Año:2007
Género: Jazz
Duración: 1:58
Nacionalidad: Suecia
Lista de Temas:
1. "Tuesday Wonderland"
2. "The Rube Thing"
3. "Where We Used To Live", 
4. "Eighthundred Streets By Feet"
5. "Definition Of A Dog"
6. "The Goldhearted Miner"
7. "Dolores In A Shoestand"
8. "Sipping On The Solid Ground"
9. "Goldwrap"
10."Behind The Yashmak"
Alineación:
Esbjörn Svensson / Piano
Dan Berglund / Contrabajo
Magnus Öström / Batería
Lino, nuestro cabezón venezolano, se pega una vuelta por el blog y resube este buen disco de jazz contemporáneo. Si te gusta el jazz, no dudes de escuchar este trabajo. Gracias Lino!

Las 100 Mejores Canciones del Prog

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Aquí está la lista de las mejores canciones de rock progresivo del puesto 100 al 1:

100) Inca Roads - Frank Zappa & The Mothers Of Invention
99) The Life Auction - Strawbs
98) In The Ca…

La Barranca - Eclipse de memoria (2013)

Artista: La Barranca
Álbum: Eclipse de memoria
Año: 2013
Género: Rock poético mexicano
Duración: 45:04
Nacionalidad: México

Lista de Temas:
01. El alma nunca deja de sentir
02. Ante la ley
03. Garzas
04. Flores de invierno
05. En cada movimiento
06. La tercera joya desde el sol
07. El futuro más distante
08. Campos de batalla
09. Sequía
10. Siempre joven
11. El tiempo es olvido


Alineación:
- Federico Fong / bajo, piano, percusión.
- José Manuel Aguilera / voz, guitarras, órgano, charango.
- Adolfo Romero / guitarras.
- Navi Naas / batería.
Invitados;
Enrique Castro / marimba, percusión, piano, kalimba.
Alfonso André / batería.
Cecilia Toussaint / coros.
Yamil Rezc / percusión, juno, batería.
Agustín Bernal / contrabajo.
Darío González / rhodes, mellotron, hammond.
Daniel Zlotnik / sax soprano, sax tenor, flauta, hulusi.
Erick Rodríguez / trombón.
César Barreiro / trompeta.
Magali / piano.
Mónica del Águila Cortés / cello.
Arturo González Viveros / violín.
Erika Ramírez Sánchez / viola.

Y ya p…

Egberto Gismonti & Naná Vasconcelos - Duas Vozes (1985)

Artista: Egberto Gismonti & Naná Vasconcelos Álbum: Duas Vozes
Año: 1985
Género: Jazz Fusión / Latin Jazz
Nacionalidad: Brasil

Lista de Temas:
1. Aquarela do Brasil
2. Rio de Janeiro
3. Tomarapeba
4. Dancando
5. Fogueira
6. Bianca
7. Don Quixote
8. O Dia, À Noite

Alineación:
- Egberto Gismonti / guitar, piano, dilruba, wood flutes, voice
- Naná Vasconcelos / percussion, berimbau, voice



Robert Dimery, Editor - 1001 Albums You Must Hear Before You Die (2006)

Libro de referencia de la música pop aparecida entre 1955 y 2005, abarcando los géneros desde el rock, blues, folk, jazz, pop, electrónica y world music. Las reseñas fueron realizadas por un equipo de unos 90 críticos de distintas latitudes y gustos. El trabajo se basa en discos originales, quedando así por fuera las recopilaciones de varios artistas, quedando excluido así, el mítico álbum de Woodstock. Sin embargo el panorama es muy amplio y uno siempre encontrará artistas que no ha oído.

Editor: Robert Dimery Prefacio: Michael Lydon
Primera Edición: 2005
Cubierta:Jon Wainwright
Género: Catálogo
Páginas: 960
Nacionalidad: EEUU Editorial:Universe Publishing
Reediciones:2008, 2011, 2013 Otros Idiomas: español, portugués, noruego, finés, sueco, y otros.



Presentación del Editor de libros de Amazon.com 

The ultimate compendium of a half century of the best music, now revised and updated.1001 Albums You Must Hear Before You Die is a highly readable list of the best, the most important, and the most in…

La Barranca - Denzura (2002)

Artista: La Barranca
Álbum: Denzura
Año: 2002
Género: Rock alternativo
Nacionalidad: México

Lista de Temas:
01. fascinacion
02. animal en extincion
03. hasta el fin del mundo
04. donde la demasiada luz forma paredes con el polvo
05. la vision
06. no mentalices
07. denzura
08. montana
09. la rosa
10. madreselva
11. minotauro
12. kalenda maya

bonus ep: cielo protector
13. cielo protector
14. rendicion
15. tsunami
16. el agua que cae
17. cielo protector (demo)


Alineación:
- José Manuel Aguilera / guitarra, voz, órgano
- Alejandro Otáloa / guitarra, piano, teclados
- José María Arréola / batería
- Alonso Arréola / bajo, guitarra acústica
Músicos Invitados:
Federico Fong - piano eléctrico (6)
Cecilia Toussaint - voces femenina (2,10)
Marco Antonio Campos - percusiones (2, 4, 9, 10)
Joe D'Etiene - trompeta (8 )
Cherokee Randalph - viola (3, 6, 7)
Mónica del Aguila - chelo (3, 7, 6)
José del Aguila - violín (3, 6, 7)
Arturo González - violín (3, 6, 7)
Eduardo del Aguila - platillo tibetano (1)

Manantial - Manantial (1977)

Nuestro amigo Julio Moya sigue con su tarea de palentólogo del rock latinoamericano y ahora nos presenta la historia de Manantial, algo así como los Arco Iris de Bolivia (incluso en su historia hay puntos de contacto con la banda de Santaolalla). Manantial fue una de las bandas mas representativas del rock boliviano producido en la decada setentera, con una clara influencia inclinada al rock progresivo y experimental, creando una verdadera joya perdida del rock boliviano (no van a encontrar referencia alguna por ningún lado de esto, salvo lo escrito por el cabezón Julio) que ahora presentamos en el blog cabezón gracias al trabajo investigativo de Julio Moya.

Artista: Manantial
Álbum: Manantial
Año: 1977
Género: Rock progresivo / Rock psicodélico
Nacionalidad: Bolivia


Este tiempo Julio estuvo viajando de lado a lado, ahora se encuentra en Bolivia consiguiendo material para "Años Luz", y nos deja la reseña de este disco, una nueva banda que damos a conocer en el blog cabezón, una …

Argentina Kamikaze

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Hoy entran en vigencia los tarifazos del transporte (colectivo 32% y tren 35%), luz (24%) y prepagas (4%). Decisiones que afectan a la mayoría de los argentinos de un gobierno de empresarios en un año no electoral. Casualmente.
La catarata de aumentos tiene impacto no sólo en los bolsillos sino también en los índices de inflación, lo cual complica de entrada el cumplimiento de la meta de inflación anual que puso del Banco Central, del 15%. Según las estimaciones de las consultoras, el avance de los precios pod…

The Flower Kings - Retropolis (1996)

El segundo disco de estudio de The Flower Kings refuerza su pertenencia a la más sólida tradición prog, homenajeando sutilmente a algunos de los clásicos. Con este disco la banda se dio a conocer más ampliamente, con una propuesta musical entre el reconocimiento a los gigantes que crearon el género y la recreación de sus posibilidades en su presente. Retropolis ayudó en el resurgimiento del prog de los años 90 con su propuesta ecléctica y sus acertijos: “¿De quién estoy hablando?”, parecen decir en ciertas frases del texto y la música, ¡para que respondan lxs cabezonxs!

Artista: The Flower Kings
Álbum: Retropolis
Año: 1996
Género: Progresivo sinfónico ecléctico
Duración: 1:08:45
Nacionalidad: Suecia


El título y la carátula parafrasean el clásico cinematográfico Metropolis de Fritz Lang (1927), aunque la referencia se detiene ahí (a no ser porque la temática general de aquella visionaria película —la condena de una sociedad tecnológica que oprime al pueblo— es también una de las preocupacion…