OPETH

Pale Com­mu­nion Road­run­ner/ Warner

Blunt - - In Review - PETER ZALUZNY

Pale Com­mu­nion draws an even larger gap be­tween con­tem­po­rary Opeth and their heavy metal her­itage, turn­ing to­wards a key­board and guitar based record that takes most of its cues from ‘ 60s jazz- in­spired rock. It’s a fairly mel­low, mood- driven af­fair wrapped in a ten­der tone that’s quite warm and invit­ing, and still heavy enough at times to main­tain the nec­es­sary edge. But for a pro­gres­sive band, there’s next to no pro­gres­sion within the con­text of the al­bum. Although or­ches­tral strings make for a pow­er­ful con­clu­sion, it of­ten makes you won­der whether Opeth have stripped things back a bit too much. And yet, there’s a re­lax­ing, al­most hyp­notic beauty to Pale Com­mu­nion, one that makes for a much more grounded al­bum com­pared to Her­itage. This is best en­joyed in com­plete men­tal iso­la­tion, so the mu­sic can ef­fort­lessly en­velop your mind

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