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Old 04-08-2010, 01:15 AM
bruceharris bruceharris is offline
Join Date: Jan 2010
Location: copenhagen
Posts: 1
Sorry for this but a few words has to be said here.


Opeth plays for 3 hours at 6 well selected cities and it is still NOT good enough for you?

Want me to come over and put my big vikingfoot up your arses?

And for the record, as you know absoluteley nothing about the band, the history or the songs I will give you a little 20th aniversary gift. If that do not keep you shut your mouth I you just get the hell out of Opeth´s way in the future. This is just a little chronological Opeth for yankees with no manors or respect, or people just appreciating history and wants to know a little bit more:

On april 7 1990 David Isberg left his house on Kynäsvägen 9B in the suburb Huddinge (also the same area where Mikael lives these days and not far from Sörskogen) going to central Stockholm and a record store called House of Kicks. Earlier that mornibg David came home from a familytrip to Thailand celebrating his mothers 40th anniversary and was going to to the record store to provide certain people a few gifts from the far asian country (not very touristed at the time). At the record shop he met up with Dan Nilson ad Richard Evén, ending up the three of them later that afternoon rehearsaing together for the first time at Tiamats rehearsal room in a youth center called Runan in Täby Kyrkby in northern Stockholm.

2 days later they rehearsed again and this time David set the name for the band first being Opet (stolen from the book "Solfågeln/Sunbird" by Wilbur Smith), later that day death metalized to Opeth.

The first line up also containing Mikael Bergerståhl and Martin Persson did not last that long. At the time of his youth David was a messy person, not always easy to get along with and often seen in fights. With Martin being a disastrous basplayer, David wanted to force him out of the band and invited his old arch enemy from school Mikael Åkerfeldt for the job. When the others disagreed David fired them all, took the bandname and some of the music and started up again with Mikael as a duo.

Early september 1990 the 2 young boys 15 & 16 years old sat in the bassment of Gunilla Åkerfeldts house in Sörskogen, Huddinge (can not for my life remember if it was located at the part of the road called Flugsvampsvägen or the second part called Taggsvampsvägen), with a Yamaha guitar (which I think Mikael still keeps somewhere), a 12 watt Marshall amp and a drumstick. 2 songs where created in a few days called Requiem of Lost Souls and Mystique of the Baphomet (later released as Mark of the Damned on the Dark Fantasia rehearsal tape, the recording that sat the band on the map as italian fanzine Thanatography runned by Stefano Longhi and Roberto Mamarella gave it a thunderous review, being the first magazine ever in anyones knowledge mentioning the band).

These 2 songs are to be find on the Orchid record, now compressed to one with a few changes under the name The Forest of October. The song still contains the certain segments that was the absolutely first written for Opeth by Mikael and David and is the very beginning of the career of Mr Åkerfeldt.

Summer 1991 a song called Poise Into Celaeno was written by the guys and can be heard on the unfortunately not well sounding live in akalla 1991 bootleg. That was the gig Peter Lindgren joined the band for (playing bass at moment with Kim Petterson from local glam rockers Crimson Cat ((to be heard on myspace)) doing the lead guitar). With Peter in the band, soon moving over to lead guitar as Kim wanted his time to be spent on his own band, they found yet another way of progressing their songwriting and Eternal Soul Torture was the next rehearsal tape to be traded in the underground late 1991. That song sort of made way for the sound taken on the second album, and important segments of the 2 songs are main parts of the song Advent.

After touring with Morbid Angel the influences changed a bit and the most typical song for the third album was April Ethereal. The sound was a bit more "americanised" and opened ways for Mikael to start to write for the next album being Still Life.

Being poor sitting in a tiny apartment in Hagsätra in Stockholm Mikael managed to write an entire album on any papernote he could find. There was no tabs these days but small oneliners like "morbid angel sounding riff 4 times" "straight after the mefisto theft converted to dark throne style" etc. Nobody knows how but he managed to get the songs together with The Moor being the most complicated one, and probably the one describing the album at it´s best.

With the succes of BWP Mikael´s brain was burning for real and he succeeded to write 2 albums at once. The first release being the brutal death metal epos Deliverance. With a wall of sound and the speed of light the band proved themselves to be top notch death metal (some people got sceptical after the more progressive BWP). One song describing the depths, brutality, speed and complicity (aswell as the Morbid Angel influences) is Wreath.

The second release, the epic Damnation contains Mikael´s personal Opeth favourite. That is a song called Hope Leaves. It might not just describe the album as good as a few other songs, but somewhere the mans own number one must be included in a set like this.

With new strong influences and a wider sound for the next release, Ghost Reveries, the band reached yet a bigger audience and people from all sort of rock and metal cultures. The band toured the globe round and round and the specific arts of the album in itself can be heard in the enormous Harlequin Forest.

Watershed was the last full release to date to wash our brains. Showing yet new genius sides that we could never expect from the band. Surprising us with a supreme masterpiece that would have made Gilour/Waters very envious back in the days and also a perfect way to conclude an evening, could not be anything but the future calssic The Lotus Eater, showing all the different sounds of the band from day one. In chronological order.

The selection of the songs just proves the greatness of Mikael Åkerfeldt, showing the band in all angles with everything included and extra sauce on top of that. It could not have been done in another way being pure to history.

I do not think playing a new song would have been a good idea.

Mikael, if you ever reads this, you know who I am.

Thank you and your band, wife and crew for giving me and Michelle a lovely evening at The Royal Albert Hall.
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