Opeth with Tapping the Vein and Paradise Lost
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Opeth with Tapping the Vein and Paradise Lost | Judgment Committee Reviews | Rating |
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4 | |
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5 | |
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5 | |
| Chainheart's Review | 5 | |
| Redwolff's Review | 5 | |
| Solomon's Review | 4 |
| Go to Reader Reviews |
Abyss's Review (1/19/02, Irving Plaza, NYC):Demon Of The (Fuckin' Freezin'-ass) Winter
Why people come to New York City in the winter (i.e. Xmas) is beyond me. I realize it's miserable in the heat of summer as all of the concrete radiates the heat from the sun, but in winter it might even be worse. In winter the rows of tall buildings act like makeshift wind tunnels, turning even mildly cold air into frozen shards of glass that nullify the concept of "dressing in layers". This fact, plus my crippling hangover, made this night feel less like a mellow night out and more like a quest through the wasteland of Mordor (Frodo, I feel your pain). So it was with anxiety that I stumbled into the bar, where I had agreed to meet Solomon and Redwolff before the show, only to find that I was the only one there. I checked the clock on the wall and saw that I was a half an hour late, and I was still the only one there. Had I come on the wrong night? Death and Hel are tucked safely away in LA, so no one really has an excuse to be late. Hmmm... Anyway, I did the same thing I always do when confronted with a problem, I ordered a beer. And just like it always does, it solved my problem, because within a few minutes Redwolff and Solomon showed themselves and informed me that the clock I had been watching was twenty minutes fast. So I next did what I always do when confronted by a solution, I ordered another beer.
Opeth
Photos by HelAs Redwolff was waiting for her new beau, I started getting antsy, because I wanted to make sure that I saw Tapping the Vein. She reported back to us after checking the front of Irving Plaza for him, and I quote, "The line is short and it's moving really fast." With this I finish my beer and decide that I'd go in to the venue. It was then that I realized that Redwolff is either an idiot, speaks a different language than I, or is some sadistic jokester. Because by "the line is short" she meant to say, "the line is wrapped around the block" and by "moving fast" she meant the word "standstill". So a half an hour later when Solomon, Peter, and I are just reaching the entrance, Redwolff exits the bar and joins us on line for the final three minutes of our wait, proving she's not an idiot (and apparently I am.). Anyway, onto the show.
Tapping the Vein are a different band then when I saw them at Metal Meltdown III two years ago. They have matured in style and their experience on stage shows them to be much more confident. Lead throat Heather Thompson was dressed in a dark classy outfit, showing a sense of fashion she didn't seem to possess the first time I saw her wearing skin-tight pants and skimpy bra. Sorry guys, she's decided she'd rather be respected as a musician than gawked at. And the guys were wearing... all right I wasn't really looking at the guys, so I have no idea what they were wearing, sue me. The entire band exhibited maturity on stage that I hadn't noticed before. Heather's voice, obviously the centerpiece of the band, sounded soulful and thick, accentuating the growth their live show has shown. All members played with a confidence that was impressive considering their gothic/industrial/pop/metal sound doesn't have much in common with the average fan of the epic death metal of Opeth. The band held their own, and seemed to win over most of the crowd. Whether you like their kind of music or not, Tapping the Vein is a worthwhile and entertaining live act.
OpethParadise Lost took the stage next, or as they put it, "We're five limey cocksuckers who are going to try to entertain you for the next fifty minutes." Or something close to that anyway. And while at first look you could easily mistake them for cocksuckers, they played a pretty good set. By this I mean I was entertained even though I wish they played some of their old stuff. I believe the earliest they touched upon was off of Draconian Times. They've been around for so long that they've got the live thing down pat. They definitely put the PRO in progressive (yes I made that one up myself, I'll go sit in the corner). There's no doubt that these are very talented guys, and they had total control over the audience, which seemed almost as anxious to see them as they did the headliners. Let's face it, if they can keep my attention, even with most of their new material, they are doing something right.
The thing I can't get over when it comes to Opeth is how soft-spoken singer Mikael Akerfeldt is. Here they have these sprawling, majestic songs full of weight and texture, and quite frankly one of the biggest sounds I've ever heard recorded, and in between songs this dude sounds like he's announcing a golf tournament. It's actually quite a nice change of pace. Their execution this night was flawless, just like every other time I've seen them. I was actually a little surprised to see how many female fans turned out. I had no idea that music this heavy (at least at times) would find a significant fan base among females. Go figure. They highlighted their new album Deliverance, and while it's not my favorite album, the fans at this show ate it up. My favorite, as always, was "Demon of the Fall", which they saved for the encore. This band really is something special, despite being hung over and tired, I never felt bored or even distracted once they took the stage. This isn't necessarily a simple feat for a band with mostly long orchestrated songs. Opeth are quickly becoming the most respected (and deservedly so) band in metal. Here's hoping that Damnation helps break them into the mainstream. Of course, if that happens many of you will disown them, but I'll still be along for the ride.
Death's Review (2/1/03, The Troubadour, West Hollywood, CA):What a weekend it was in LA! Nuclear Assault on Thursday, Opeth on Saturday, Halford/Testament on Sunday (and Opeth again on Monday if you had any energy left and were so inclined). I can't begin to tell you how psyched I was to see Opeth. This would be about my fourth or fifth time seeing them live, but the first since the release of their new masterpiece and my favorite album of 2002, Deliverance. The title track off that album was something I was very much longing to see performed live, and my wish came at least partially true a couple of nights before when I saw Opeth interviewed on Much Music's "Uranium" show and they played a live clip from what must have been New York's Irving Plaza (I tried but didn't see Abyss, Solomon or Redwolff in the crowd!) earlier on the tour. Just a few seconds of course, but enough to know it was coming and know it would sound just as cool as I had imagined it.
Paradise LostBut first things first: we had to actually get there. Circumstances dictated that I had to work around the clock this entire past weekend. I really had no business making it out to this gig, but c'mon: it's Opeth! I had to go. We tried to get there for Tapping the Vein's opening set but alas, it was not to be. Turns out that the show was sold out in advance and our friend had been waiting outside for an hour to try to have us get her in 'cause we had an extra ticket. We missed her. Things were not going well so far. Oh well, eventually we got there and gave away the extra ticket to one of the hardcore fans camped out in front of the venue hoping for a "miracle" so that they could get in. Wrapped in a Metal Judgment flier, of course!
We walked in and saw Chainheart pretty much right away. Then I started drinking and Hel went to go take pictures of Paradise Lost. I was fairly blasé about Paradise Lost, although I was hanging with a buddy who was a big fan and who gave me the Cliff's Notes right before they went on: they used to be awesome, he said, once poised to become a more gothic-sounding Metallica. Draconian Times was the killer album, apparently. I of course had heard all of this before and was vaguely familiar with the band's past, but hadn't ever paid too much attention and really did not know any of the band's material. So he convinced me to actually listen, with a clean slate, and decide if this was the night I was to become a fan. The set began and I tried to get into it. I kinda did at first. When the dude turned to me to tell me that the song we were hearing ("Hallowed Land") was from the Draconian Times album we had been talking about, my interest piqued. It also peaked. I liked the singer's voice on this, but after a few more songs I was done. I was bored. And so I walked away, into the back bar for more booze. Saw Jon Bush (Anthrax, Armored Saint) back there. Nice to see him out at an Opeth show. Walked around some and chatted with folk. Drank more beer. Went outside and shot the shit out front. Eventually, Paradise Lost was over. Opeth was about to begin.
OpethIt was awesome. One of the best live gigs I've seen since I've been in L.A. The crowd was so fucking into it! The passion of the fans and the connection they feel with this band was infectious for anyone in the room. It was incredible. People singing along, banging their heads and flailing their arms along with the music. Great set, and yes, they included "Deliverance," which was just as transcendental as I expected. The fans were into it, the band was into it and there was an energy in the air that smacked of something truly special. This band has "it," whatever that "it" may be, and at the same time they simply ooze artistic integrity. Who knew at the intersection of death metal, prog metal and space rock something so awesome would emerge? Who knew that Pink Floyd crossed with Morbid Angel crossed with Dream Theater sounded like - . . . well, I guess that wouldn't sound exactly like Opeth. That would be selling Opeth short. Opeth would be better! At least that was the way I felt after seeing the band this night.
The bottom line is of course the inevitable admonishment to be sure to catch Opeth when they next play live in your town. But really, the sentiment is so much stronger than that. You absolutely have to go see Opeth every chance you get. Real, artistic metal is alive and well in the United States, and it is a glorious sight to behold.
Hel's Review (2/1/03, The Troubadour, West Hollywood, CA):
To call this tour "highly anticipated" may be the biggest understatement made so far this year. Despite the crushing disappointment over Lacuna Coil's visa woes, and subsequent inability to make it across the pond to take their place on the tour, the remaining 3 absent friends (this "4 absent friends" theme for the tour struck me as a bit forced to begin with) soldiered on and delivered the goods.I'm dismayed to inform you that, once again, I didn't make it to the venue in time to catch the first act, in this case, Tapping the Vein. The final strains of their last song reached me as I was standing in front of the will call window, and the band had vacated the stage entirely by the time we finally entered the building.
OpethMy first stop was the Ladies' Room, and there I found the ingénue front woman of Tapping the Vein, chatting with fans right there next to the sink. What I found most interesting about this exchange was the pure friendliness with which she responded the fan's questions and accepting her compliments graciously, even though she undoubtedly was seeking a moment's refuge following a surely intense performance.
I have seen this energetic band a number of times, and they have been unfailingly excellent each time, so I'm sure Tapping the Vein's performance on this evening lived up to those same standards. What I regret most is being unable to snap a couple of photos for inclusion with these reviews, but I also regret missing Tapping the Vein's set.
On the other hand, part of me really regrets catching Paradise Lost's entire set. I like some of their stuff, but not all of it, and so it was with their set. Some of the songs they played I really enjoyed, and other times I found myself really wanting to just leave the room. Ultimately, I realized that must be where Death would be found, because after two circuits around the room, it was clear he was no longer there. Sure enough, there he was, chatting with Chainheart in the adjacent bar.
Paradise LostOpeth was clearly the star attraction of the evening, and since I didn't want to miss the chance to get some good photos of the mighty Opeth, I worked my way up to the front of the stage a little early, and spent the intervening moments listening to a truly delightful exchange between two fairly young, surprisingly knowledgeable, underground metal enthusiasts. You name an obscure metal band, and it was probably bandied about in that fun-to-listen-to 10-15 minute conversation.
Finally, the mighty Opeth took the stage. From the first moment, their performance was flawless, and even a broken guitar string wasn't able to distract from the pure momentum of the song. That string was their sole glitch of the night, and was handled so professionally and quickly, I imagine most of the people who even noticed it in the first place quickly forgot about it completely. And that is just as it should be.
Between the epic lengths of their songs, and their ever-expanding catalog of albums to choose from, it must be very difficult for them to cover every album, particularly when they need to emphasize the new album they are currently touring in support of. But at the end of the night, they seemed to have done so. Admittedly, I'm terrible with set lists, so I could be wrong, but I'm pretty sure there was one song from each, and a couple from Deliverence. The mighty Opeth provided the obligatory encore in the form of "Demon of the Fall" to the enthusiastic approval of the fans, who were utterly beside themselves throughout Opeth's entire set.
What more could you want from a night? A fantastic performance from the mighty Opeth should be more than enough for the average mortal.
Chainheart's Review (2/3/03, The Galaxy, Santa Ana, CA):The originally scheduled 4 Absent Friends tour saw many problems before the bands even arrived in the U.S. With Lacuna Coil having to drop off the bill due to immigration problems it was now down to three, but with Opeth on the bill you automatically knew that you were going to be in for a monumental show no matter who they had opening up for them. This is one band that I could see a million times and never get tired of. After seeing the tour in LA two nights before I had no choice but to make it down to Santa Ana because I knew exactly what I would be missing. The opening bands I was interested in seeing, but on this night it was all about Opeth for me.
OpethI got to the venue around 8PM and the place was already almost sold-out and if you saw Opeth on this current tour odds were that the venue was totally packed. It is amazing to see the fanbase that Opeth has developed in the U.S. in the past few years, especially from being on a label such as Koch that barely even functions as a real working label. Nevertheless, this band's talent has put them miles above the pack and they are now leading the way. Up first on this three package bill was Tapping The Vein and for those not too familiar with the band they are more gothic rock sounding with a female vocalist. They fit very well on this tour considering Lacuna Coil had to drop off and they definitely won the crowd over both nights that I saw them. They do not have much of a stage presence, but they make up for that in the quality of their songwriting. They released their debut album last year and it is definitely worth picking up.
Up next was Paradise Lost and I am not too familiar with their music but I was very interested in checking them out. I heard Draconian Times and other than that I knew they drastically changed their sound since. As they took the stage they looked like a tired bunch of guys that just lacked the emotion and intensity they needed to have to compete with Opeth in any way. I found all of the programmed keyboards and synth beats a little too overdone and the songs they did play from Draconian Times did not really sound that great. Symbol Of Life is their most recent release that just seems to go nowhere and drag on as their songwriting skills have greatly diminished. This is just another tale of a killer band that just decided it was time for an unwelcomed change. They did have a good amount of fans there to see them, but as the set went on you could see people were ready for Opeth to take the stage.
The best thing about Opeth is that they do not need an extravagant stage setup or have to set off any explosions in order to deliver a breathtaking performance. From their first note you are automatically sucked into this trance-like state where all you see and hear is the musical perfection that only Opeth delivers so effortlessly. From the moment they walked on stage the crowd went insane and then suddenly became quiet once the band went into "The Leper Affinity" from their Blackwater Park release. Even though most of Opeth's songs are on an average of about ten minutes long they always seems to go by very quickly. This Swedish quartet is headed up by vocalist/guitarist Mikael Akerfelt (also in Bloodbath), Peter Lindgren (guitars), Martin Mendez (bass) and Martin Lopez (drums). There are no limits to this band's musical abilities and they continuously top themselves with each release.
OpethThey soon went into "Advent" and this opening track from Morningrise has to be one of the best Opeth tracks ever. It has everything from brutality to somber and melodic vocal/guitar melodies. This group just has a talent for writing very complex, yet catchy songs that continuously keep you guessing what they could possibly do next. Their most recent release, Deliverance, was released in late 2002 and might be their best record to date. They soon went into the title track and this is easily the best song on the record. They completely nailed it and it is beyond me how this band never makes the slightest mistake. This song features some of the best work from the flawless rhythm section and you just have to stand there in complete shock at what you are witnessing. After three tracks they were already 30 minutes into their set and continued with such crowd favorites as "The Drapery Falls" from Blackwater Park and "Credence" from My Arms, Your Hearse. The best crowd reaction of the night came when they played "Serenity Painted Death" from Still Life and this was they second time they have ever played this song live. The band even commented on what a difficult song it was for them to play live.
They soon headed back to the new album with a track called "A Fair Judgement" and the new material sounds so aggressive live. They have truly outdone themselves with this release and you can easily see by the amount of rabid fans that they are finally getting the attention they deserve in U.S. after being around for eight years. The last song of the night was "Demon Of The Fall" from My Arms, Your Hearse and the crowd went insane as the first big pit of the night opened up. After almost an hour and a half show I found myself wanting more. This is a band that can appeal to many different people no matter what their musical preferance may be and if you are a fan of Tool or Rush then you really need to pick up one of Opeth's latest releases. It is true that Opeth will never have a hit radio single or a video that will be in regular rotation, but that did not stop them from selling out their first headlining tour of the U.S. and they definitely deserve the support. Remember that the once great Metallica did not need any radio support to sell records and the same underground ethics certainly apply in Opeth's case some 15 years later.
I would definitely have to give this show a five out of five based on Opeth's performance alone. They know how to deliver the goods and make the fans feel as if they got more than their money's worth. This band is going to continue to gain fans in the U.S. and hopefully they will be back here soon. Their new mellow record Damnation is due to hit stores this spring and I am sure that it is going to be nothing short of incredible. This is one of the band that is quite possibly the future of metal and you do not want to miss them live if they come your way.
Redwolff's Review (1/19/02, Irving Plaza, NYC):I must admit my knowledge of Opeth occurred rather suddenly: Blackwater Park and Still Life were acquired at the same time, and listening to them triggered a rabid and immediate need for more Opeth. Within another week I had bought the other four albums and was spinning all six back to back, over and over, for a good month - immersion Opeth, like when you go to Spain to learn Spanish, fast, because that's all you hear. The result of this is that, for me, Opeth's catalog has more or less melded together into one, big, incredibly long Opeth album (Still Black Hearse? Deliverance MorningOrchid?). I could not listen to an Opeth song and be able to tell you, definitively, what album it's from, with very few exceptions. So I'm glad Solomon took care of the set list part of the review.
Paradise LostYes, it was a cold night. Walking across Union Square to get to the bar where we were all meeting was like having splinters of ice in the back of my neck every time the wind blew. But lucky me, because somebody had to stay in the nice, warm bar to scarf down a Big Mac and fries with his beer, we got to the line just as the others were going in, ha ha! Of course, that meant we missed Tapping the Vein, as Abyss was the only one that dodged the coat check line and dashed upstairs to see them. There was a monitor in the downstairs lounge with a feed from the stage, and they sounded pretty good on that.
Got upstairs to see Paradise Lost. Now here's where I'm going to diverge from my boys Abyss and Solomon, as I was wholly unimpressed with them. I understand they sound very different than they did when they were starting out, maybe they played metal back then? I don't know what you'd call what they were playing onstage, but it was not metal - it was more like some unfortunate crossing of electronic 80s music with Metallica vocals. They even played a Bronski Beat cover! After a while I resorted to yelling at them to finish up and get off the stage already. I can't remember the last time 45 minutes stretched on so long unless it was at the dentist.
I had recently introduced my friend Peter to Opeth's music, and he had immediately latched onto the band, so I suggested he come to the concert with us. As it began to look like Opeth was about to take the stage, I noticed Peter was not standing with us anymore, and I was hoping he wasn't going to miss a minute of them because he was in the loo or something. I called his cellphone and he answered, yelling, "Yeah, what do you want?" I asked where he was and it turns out he'd tunneled his way up to the front of the crowd and was smack against the stage waiting for Opeth with bells on. An old-school prog rocker, he's got a good ten years on the rest of it - it's good to know metalheads stay troo!
OpethWithout further ado Opeth came on and proceeded to play an amazing set that could have gone on so much longer. Mikael Akerfeldt spoke just a little bit between songs, his buzzy voice like some deep-pitched reed instrument. I kept finding myself closing my eyes to get more into the music and then reminding myself to watch the band, dammit. After listening to all those songs over and over at work, at home, over headphones at the gym and on the subway, actually seeing and hearing them played live was like reading about the Sistine Chapel and then being there in person. I had looked forward to this show for weeks and it exceeded expectations; Opeth are a truly amazing band, and have probably replaced Led Zep as my all-time favorite (they are still fighting it out). I hope I get many more chances to see them live. Five skulls simply for Opeth, who couldn't have been better.
Solomon's Review (1/19/02, Irving Plaza, NYC):Being still relatively new to the area, I had not had the pleasure of attending a show at Irving Plaza, which is one of the more well-known metal "friendlies" in these parts. The front lobby is rather plush, and I felt like maybe I had come underdressed for the "performance," my stocking cap and "longshoreman's" jacket (thanx, Red) seeming a bit rude. Gasp, a coat check counter even! Okay, not that "underdressed," because we were freezing our asses off outside waiting to get in as it was. The line may have been long, but at least it moved quickly, although not quick enough to catch openers Tapping The Vein from Philly. Too bad, although I have seen this group a few times before and had been impressed, and I know they'll pass through this burg again soon. Also missed were Italy's Lacuna Coil, who had apparently filed their papers too late to enter Fortress America. Either that or I had intimidated Ms. Scabbia with all those love letters I've sent written in my own blood, one or the other. I knew the venue only held about five-hundred people, but the room seemed small anyway, even with two levels. At least the bar was well-separated from the stage and main floor, so you actually got the impression you were in a music "hall."
Paradise LostNeedless to say, I was seriously looking forward to seeing Paradise Lost in the flesh for the first time. I had heard very little of the band's music before the latest album, my previous experience being limited to Gothic and a few smatterings of tunes from other albums, and I was aware of the band's change in M.O. over the course of the last few albums. I do remember picking up One Second at one point just to see what the buzz was about, and wasn't too impressed at the time. PL actually closed their set with the title track from that release, which seemed to have just as much kick as the rest of the material. I had given high marks to the new release Symbol Of Life and was anxious to see how they pulled this all off in a live setting. After all these years, they apparently still have a sense of humor about what they do, as frontman Nick Holmes introduced themselves as a bunch of "limey cocksuckers" who had come to distract the crowd for a good 45-50 minutes. They had also been around for about "forty-five years" and this was only the second time they had hit these shores. My initial glee at seeing the band start their set was rewarded with dreary but still heavy renditions of "Say Just Words," "Erased" and "Hallowed Ground," a very cool tune from the Draconian Times album. Unfortunately, this was as far back as the band went, so earlier, more definitive material was missing, leading to a lopsided representation of the band's history. This wasn't much of a big deal to me, as I have no personal hang-ups on how the group "sold out," and I like the new songs enough, anyway. Holmes' high marks in "Hetfield 101" came through loud and clear on a kick-ass song like "Two Worlds." As the band proceeded through the set with songs like "Mystify" and "Self-Obsessed," I felt things starting to drag. Maybe having all that slow, gothic hard rock at once started to wear thin, but I think the band was sort of lackluster in their presence. Holmes in particular seemed to be going through the motions in a "ho-hum" fashion as the band rattled off the tunes in military order. This is completely forgivable considering I later found out the dickheads in the crowd at the last show had pelted the group with ice. Guess I'd be a bit shy under the gun after that crap, as well. I think Paradise Lost were entertaining, anyway, and I hope they don't wait until the turn of the next millennium to make their way west, again.
OpethThere's really no worries about what to expect from Opeth. They are a musical machine that operates on schedule, with no service changes or detours. However, not only was the performance top-notch, and I wouldn't normally mention this, but we got the added bonus of a very professional, other-worldly light extravaganza. I'm not talking Pink Floyd flood lamps here, but the visual portion was well-orchestrated for such a small gig, and it reflected the moody, elusive nature of Opeth's compositions, changing colors (a nice deep red for "Advent") and shifting geometric patterns as the set progressed. Mikael Akerfeldt, who is probably one of the most easy-going frontmen in music history, has a singing voice that is exceptional even in a live setting where there are no studio trickeries to mask flaws and inadequacies. Despite their musical prowess, I have to admit I expected the band to be a bit dull in their physical delivery, as they have a tendency to move around very little. Of course, with music this involved, you can't be doing mid-air splits and guitar spinning through the whole thing, but there was enough coordinated headbanging and what-not to keep things active. Bassist Martin Mendez is a show just by himself, nothing but a head full of hair flopping around while fingers plunk away. The set was fairly even in application, "Advent" from Morningrise standing next to "Godhead's Lament" from Still Life and "Deliverance" from the new album. The heavier, more to-the-point chugga-chugga of "Deliverance" was a live highpoint, as was the inclusion of "Bleak" from Blackwater Park (finally!). Actually, "Bleak" seemed a little slow compared to the rest of the set, but you can't beat the headbanging glee found right after the acoustic/clean vocal passage in the middle. "Credence" provided a nice pivot between sturm-and-drang assaults on the senses, and Opeth teased the crowd effectively with laid-back closer "A Fair Judgement" before returning for an encore with you-know-what. I hadn't realized at this point what a cool song "Demon Of The Fall" actually is, and I had to go home and spin just that song about a dozen times the next day just to break it in.
What else is there to say but this was time well-spent and should prove to be one of the better live shows of the year for American metalheads.
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