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Opeth

Швеция

Progressive Rock
Death Metal
Progressive Metal
Acoustic

http://www.opeth.com
Myspace: http://www.myspace.com/opeth
Facebook: https://www.facebook.com/Opeth

20 апр 2025 :	MIKAEL ÅKERFELDT On OPETH's Musical Evolution: 'I Don't Believe In Staying True To The Roots'
15 апр 2025 :	OPETH Guitarist FREDRIK ÅKESSON On His Debut Solo Album: 'I'll Do My Best To Finish It As Quickly As Possible'
29 мар 2025 :	OPETH Wins Swedish GRAMMIS Award For 'The Last Will And Testament'
24 мар 2025 :	OPETH Guitarist FREDRIK ÅKESSON's Debut Solo Album To Include Guest Appearance By SAXON's BIFF BYFORD
14 фев 2025 :
22 янв 2025 :	OPETH's FREDRIK ÅKESSON: 'As A Unit, We're Stronger Than Ever'
10 янв 2025 :	OPETH's MIKAEL ÅKERFELDT Pays Tribute To HEAVY LOAD's RAGNE WAHLQUIST
9 янв 2025 :	OPETH's MIKAEL ÅKERFELDT Pays Tribute To PAUL DI'ANNO: 'His Influence On Metal Music Cannot Be Understated'
24 дек 2024 :	OPETH Unleashes "The Drapery Falls" Live At Bloodstock 2024; Official Pro-Shot Video Posted
17 дек 2024 :	OPETH Performs "Deliverance" At Bloodstock 2024; Watch Official Pro-Shot Video
12 дек 2024 :	OPETH Performs "Ghost Of Perdition" At Bloodstock 2024; Watch Official Pro-Shot Video
1 дек 2024 :	OPETH's FREDRIK ÅKESSON On 'The Last Will And Testament': 'This Album Is Special To Me'
29 ноя 2024 :	Watch OPETH's Epic Headline Set At Bloodstock 2024; Official Video
26 ноя 2024 :	Watch: OPETH's MIKAEL ÅKERFELDT Takes You Through Entire 'The Last Will And Testament' Album
23 ноя 2024 :	OPETH's FREDRIK ÅKESSON Says 'The Last Will And Testament' Album Is Another 'Step Forward'
10 ноя 2024 :	OPETH's FREDRIK ÅKESSON Explains How Drummer WALTTERI VÄYRYNEN Landed Gig As Replacement For MARTIN 'AXE' AXENROT
8 ноя 2024 :	OPETH Share "§1" Bass Playthrough Video
3 ноя 2024 :	See OPETH Perform In Los Angeles During Fall 2024 North American Tour
31 окт 2024 :	See OPETH Perform In Denver During Fall 2024 North American Tour
17 окт 2024 :	MIKAEL ÅKERFELDT On IAN ANDERSON's Guest Appearance On New OPETH Album: 'It's Amazing That He's On Our Record'
8 окт 2024 :	OPETH's ÅKERFELDT Says Growling Vocals 'Became An Asset' During Songwriting Process For 'The Last Will And Testament'
5 окт 2024 :	OPETH - Special 25th Anniversary Edition Of Still Life Album Available On Double Black/Red Splatter Vinyl In November
3 окт 2024 :	OPETH Guitarist On 'The Last Will And Testament': 'It's An Action-Packed Album'
26 сен 2024 :	OPETH's MIKAEL ÅKERFELDT: How I Got Into Vinyl Record Collecting
24 сен 2024 :	OPETH's 'The Last Will And Testament' Album Pushed Back By Six Weeks Due To 'Delays In Manufacturing Process'
17 сен 2024 :	OPETH's MIKAEL ÅKERFELDT Finds It 'Slightly Annoying' That So Much Focus Has Been Placed On His Return To Growling Vocals

2 ноя 2016

With ‘Sorceress,’ OPETH Takes Another Step Into the Musical Unknown

Akerfeldt talked to the Journal about his unlikely musical influences and how far Opeth has come, including milestones and rough patches along the way. Edited from an interview:

Even from the beginning, you’ve had traces of a more progressive, softer sound than one would be accustomed to from a metal band. Do you see “Sorceress” as the end stage, or do you see yourself working in other kinds of genres?

The beauty with this band, I think, is that we don’t really know where we’re going, but we’re going somewhere. In the beginning, when we did the first album, I was 19 years old and I had just gotten into the whole prog-rock movement with my record collecting. It was a glorious time to be a record collector then because I was still buying vinyl, and in those days, the early to mid-90s, everybody was selling off their vinyl because they were getting CDs. I picked up everything for next to nothing. I was experimenting with music styles, picking up stuff that I didn’t know what it was because I could afford it. Even if I was piss poor, I could pick up a record for a buck or two. So I stumbled upon King Crimson and stuff like that. Eventually [artists]like Joni Mitchell, Nick Drake, songwriter music. I was buying blues. I was buying jazz. That interested me. In the end, even if our roots are in pretty extreme metal music, it soon changed into something else. And now I don’t really know what we are anymore.

You’ve mentioned blues, jazz, more specifically you’ve talked about Miles Davis and Dave Brubeck. What lured you to jazz?

Gradually, I gravitated toward [jazz] because I’m a guitar player. I picked up some records by Wes Montgomery, which is very soft and nice kind of dinner jazz, if you know what I mean. I loved it, and it opened up my eyes for the genre a little bit more. Soon enough, I picked up a couple Miles Davis records, which I absolutely love. “Porgy and Bess” is one of my all-time favorite records. From Miles Davis, of course, you find John Coltrane, you find Herbie Hancock, Chick Corea. You find Dave Holland, lots of other players that played with him but also did solo records. That was my foot through the door, pretty much. I just woke up one day and I was a massive fan.

How do you transmute what you pick up from jazz into what you do?

I don’t have any musical training of any kind. I put together chords myself, and I don’t know what they’re called if you know what I mean. But there’s a lot of guitar chords, for instance, and piano chords because I write for all the instruments that I think can be traced back to jazz. But the way we play, we’re not like a jazz band. It’s just the influence. In the same sense that I love Iron Maiden, for instance, but I don’t think we sound like them. It’s just like a melting pot of ideas, and I blend everything together, and the result is what we do.

What incentives have you had over the years to keep changing? Was it driven by creative impulse, or did you feel winds changing in the genre?

I act on impulse, musically. I never catered to a career, to a sound we had just because it was successful for us at the time. I think I have some diagnosis, like musical ADD or something like that. I get very restless and bored with myself. It’s something I feel inside. It’s almost like a physical symptom, when I feel that it’s time to do something else. I can almost hate myself when I write stuff when I can predict what’s coming out. I find it very unsexy, so to speak, and I really feel it inside, like now is the time to change. It was a bit scary in the beginning or in the early days, or midway. When we had a career, so to speak, living off of the music. And all of a sudden I write something that either I feel that it’s good or it’s nothing, or I feel that this is fantastic but it’s so different from what we did before so it might be considered a risk for us. I always went for those, the riskier the ideas, in the end.

What’s the energy feel like at your shows these days compared to earlier shows in your career?

We’re not the most animated band on stage. We focus on playing the songs as good as we can. And we’re also still one of the bands that play live. We don’t have machines playing anything for us. We don’t have a click track when we play live. Sometimes it feels like we’re a bit dangerous. Anything can go wrong. We kind of thrive on that a little bit.

Our crowd is very respectful most of the time. It’s only in the U.S., I think, that we even have a mosh pit these days. People listen. They go to the shows to listen to us, to the music, to enjoy themselves. Most people are standing with closed eyes. It’s different to watch than the generic metal show would look like.

In addition to the midpoint of your career, are there other milestones along the way you can point to that influenced a new direction?

With our third album, I got tired of what we were doing with the first two, which was very melodic, almost a Thin Lizzy vibe but heavier. It changed on the third record, it changed on the fourth record. We became more experimental and progressive, and then we had our so-called breakthrough with the fifth album. Then I got anxious and we decided to record two albums at the same time: a record called “Damnation,” which was all soft, like a ballad record you could say. The other one was called “Deliverance,” which was very heavy. That was a milestone for us. Recording was horrible. When I think back to those days, it’s just black, basically.

What happened?

We had internal strife in the band. There were lots of problems, without going into that, lots of problems that shouldn’t be there. I had distanced myself from the other guys in the band because of those problems. I took it upon myself to write music for two records in the studio, so we literally went down to the studio and I started writing and then we recorded whatever I came up with. It was very spontaneous in that sense, but after a while I was just exhausted because I was writing during the nights and recording during the days. In the end I didn’t know what we had. …

It was horrible recording, but the results were interesting and really did something for us, especially the “Damnation” record. The calmer one opened up new doors for us. All of a sudden we could experiment with more progressive sounds and softer sounds because I’ve always been a sucker for the ballad, so that really helped.

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2 ноя 2016

Svarg_1349

Интервью Майка это просто что-то. Неподдельная искренность и подкупающая изящность.

Ну, да вышло немного пафосно.

3 ноя 2016

Barmaley71

Присоединяюсь! Интервью Михаэля читать всегда и интересно и просто приятно. А то, что пафосно немного вышло - так на то она и искренность))