Opeth - Damnation (2003)

#Músicaparaelencierro. La mayoría de bandas de Death metal no se atreverían a realizar este disco, que es un adelanto del estilo que la banda venía cocinando y que podemos escuchar hoy en día. Carlos el Menduco nos recuerda a "Damnation", la segunda parte de "Deliverance", y a su vez es su reverso, ya que fue el primero de su carrera como album completo de rock progresivo neto con ausencia de estilo y voces Death. Por cuestiones de la compañía discográfica fue lanzado unos meses después de "Deliverance", y a diferencia de su predecesor, que estaba lleno de fuerza y brutalidad, este es un disco tranquilo, sin elementos extremos, convirtiéndose meramente en un disco en la onda Porcupine Tree, Landberk, Anekdoten y... Camel. Ciertamente es un cambio radical para la banda, con hermosas melodías y con el señor Wilson detrás de todo. Un disco sorprendente, sea cual sea el estilo de música que normalmente escuches, pero Opeth rompe con todos los estilos.
Artista: Opeth Álbum: Damnation
Año: 2003
Género: Rock progresivo
Duración: 43:32
Nacionalidad: Suecia

Me acuerdo cuando me pasaron la versión de windowpane del "Lamentations", el primer dvd de ellos, fue la primera vez que los escuche, la expresión "volví a nacer" no es exagerada, cualquiera que entra por acá con Opeth, más que punto y aparte, es un nuevo capitulo en escuchar música.

Facu Riera en el Face del blog cabezón

Luego de su disco más brutal, los Opeth sacaron al año siguiente éste trabajo, que a contraposiciòn, es un disco muy tranquilo, un disco cargado de melodías y teclados, sin distorsión y sin guturales, con su faceta muy melodiosa en su música, recordando mucho a Porcupine Tree, cosa que tampoco debe ser extraña, debido a la participación de Steven Wilson en la impecable producción del disco y en los teclados.
Hasta ese momento Opeth había sido una banda no apta para la mayoria de prog-heads clásicos, por su estilo metálico extremo y sus voces guturales, aunque sin duda una banda progresiva y de indudable calidad. A partir del lanzamiento de este disco ya no había excusas. Ni una guitarra dura, ni una voz gutural, montones de mellotrones, y es que "Damnation" es un disco de rock progresivo neto a medio camino entre Porcupine Tree y el prog melanc{olico escandinavo de Landberk o Anekdoten, e incluso se incluyen algunas guitarras al mas puro estilo Camel (una de las bandas preferidas de Mikael Akerfeldt).

'Damnation' es el séptimo álbum del grupo sueco Opeth. Considerado un álbum de culto dentro del rock progresivo, Damnation es la contraparte del álbum anterior, Deliverance, puesto que se encamina totalmente al rock progresivo y acústico sin elementos death metal, rememorando el progresivo de los años 70. Este álbum también fue producido por Steven Wilson, quien contribuyó en las voces secundarias y en los teclados, y tuvo participación en las letras de "Death Whispered a Lullaby". Este álbum fue dedicado a la abuela de Mikael, quien murió durante un accidente automovilístico el mismo año de la grabación.

Wikipedia
Oscuras atmósferas de tristeza, melancolía y misterio pueblan el disco, mágicos pasajes bastante etéreos y oníricos, yo no entiendo cómo es que los puristas metaleros se enojaron y desgarragon las vestiduras cunado Opeth abandonó definitivamente su estilo primegéneo, las voces guturales y el uso predominante del doble bombo del metal extremo si ya había dado muestras cómo las de este álbum, donde predominan las melodías y la delicadeza a la brutalidad. Es su momento, muchos se preguntaron si no era incoherente que una banda cambie de estilo de la noche al día, pero es que en realidad aquí Opeth suena a Opeth, nada más que en un estado relajado. Si los suecos hubieran sacado un disco en la onda de por ejemplo, Judas Priest, hubiera significado un evidente cambio a un estilo radicalmente opuesto, por muy metálicos que sean ambos grupos, pero en cambio, el estilo mostrado en "Damnation" es totalmente afin a los Opeth de siempre. Lo que varía es el tono pero el espíritu es el mismo. "Damnation" suena a Opeth, a ese Opeth más relajado de las escasas pseudo-baladas y piezas acústicas aparecidas en los anteriores discos, pero incluso añadiendo un componente más sinfónico, probablemente por obra y gracia de Steve Wilson, o quizás no, quizás sólo por obra y gracias de Akerfeldt y compañía. El disco es definitivamente muy pero muy sabroso. Para los amantes del progresivo setentero que quieran conocer a la banda, este es uno de los discos por donde les conviene entrarles.

Como dice uno de los comentarios que vienen ahora, este disco les debería gustar a todos. ¿Los temas?, maravilla tras maravilla, donde predomina la elegancia, de una escucha apacible en todo momento, carente de complicaciones pero muy envolvente y sobretodo elegante y emotivo, con temas como el instrumental "Ending Credits", que recuerda mucho a Camel, y en todo momento "Damnation" nos dice al que siempre repetimos en nuestros comentarios: que el "progresivo" no todo es pura complejidad, temas eternos y giros y más giros, y que la belleza se puede encontrar en cosas sencillas pero bien hechas.

Estos suecos me hacen pensar que categorizarlos en un solo género sería una equivocación terrible, ya que desde sus principios mezclan de manera magistral el metal y el rock progresivo con sus respectivos pasajes acústicos y cambios de ritmo, y las poderosas hachas en brutales riffs abarrotados de dobles bombos y voces guturales. Además, Opeth realiza un notable cambio en la duración de sus composiciones, donde en el pasado disco venían canciones de más de 10 minutos, en Damnation el tema más largo es de tan sólo 7 minutos.
Windowpane es la canción encargada de abrir el disco, con un una hermosa guitarra y una batería dinámica nos llevan en un viaje cargado de texturas y sentimientos, todo mezclado con la agradable voz de Åkerfeldt, que se nota muy cómodo sin realizar guturales. En este tema se destacan sobre todo los grandiosos solos y la genial estructura de la canción. Una obra maestra del rock progresivo sin duda alguna.
Una ejecución simplemente perfecta, que recuerda mucho las grandes bandas de progresivo de antes, pero adaptadas a nuestros tiempos sin perder ni una pizca de calidad.
En un extraño fraseo por parte de Mikael, comienza In my Time of Need. Unas guitarras hipnotizantes nos llevan a través de la depresiva letra de esta canción, en la que una vez que Åkerfeldt empieza a cantar normalmente muestra su sublime voz en un coro magistral y lleno de “feeling”.
Death Whispered a Lullaby es un buen tema, como siempre la ejecución es brillante, con la guitarra acústica en una mezcla homogénea con la perfecta batería de Martín López, de la cual sólo se puede destacar su estupendo trabajo… es una lástima que Martín tuviera que salir de la banda por problemas de salud. Con un bonito solo de guitarra al minuto 3, la canción vuelve a la guitarra acústica del principio para continuar con toda su combinación de sonidos y cerrar el tema.
Closure es otro temazo, de lo mejor del disco, que nos muestra una asombrosa melodía que fascina desde el primer instante por lo complicada que suena, y que termina evolucionando en unas atmósferas “espaciales” que nos elevan al éxtasis ante lo que suena simple pero no lo es… la canción termina abruptamente para que la “balada” Hope Leaves tenga su inicio. Me hubiese gustado que la alargaran un poco más y que el final no hubiese sido de repente, sino desvaneciéndose o algo por el estilo.
La delicadeza y la belleza se hacen presentes en Hope Leaves, para tejer la muy bien lograda “balada” del álbum. Con el apoyo de los teclados de Wilson se desarrolla una cristalina canción que desprende tristeza en todos y cada uno de los punteos, llenos de sentimiento, de Mikael y de Lindgren.
To Rid the Disease, nos presenta una melodía que transmite tensión y una letra de esas que nos hace sentirnos solitarios y tristes, sus oscuras atmósferas, y un cautivador coro… me faltan las palabras para describirlo. Un corto solo de guitarra sirve de puente para que el piano tome protagonismo mientras algunas notas del bajo suenan para comenzar una sección instrumental en la que el mismo bajo nos vuelve a transportar hacia las fantasmales notas de piano.
Unas notas en la guitarra dan inicio a la instrumental Ending Credits, con unos punteos que hacen que la guitarra “llore” cada nota para nuestro deleite. Cargada de emotividad en su corta duración sirve como puente para cerrar el disco con Weakness.
Los teclados de Steve toman la batuta de la canción, para plasmarnos una especie de inquietud en sus atmosféricos tonos. Mikael relegado al segundo plano con la voz; la participación de las guitarras, el bajo y la percusión son nulas excepto en alguna escondida sección de la canción. De nuevo, la influencia “Porcupinizada” se hace notar, y nos deja presente que Opeth toma rumbos cada vez más progresivos, cosa que no me molesta en lo más absoluto. Weakness es un tema que da diversidad al disco porque aporta un sonido “diferente”, sobra decir que agradable.
Este disco es perfecto para escucharse un día lluvioso y gris… tan gris como su portada, que logra captar perfectamente esa tristeza y oscuridad que el disco nos muestra a lo largo de sus 43 minutos.
Quizá el único defecto que presenta es que escuchar las canciones por separado no es tan satisfactorio como escuchar todo el conjunto por completo, quizá a excepción de Windowpane y de Ending Credits que son un poco más “fáciles” de escuchar. Es un álbum hecho para escucharse de principio a fin, para alcanzar el cenit y poder degustarlo completamente tiene que oírse como si fuera un solo tema, al menos en mi caso.
Opeth logra innovar su estilo, realizando un cambio radical en su música y totalmente inesperado para la mayoría de sus seguidores, entre los cuales me incluyo. Damnation transmite paz, tranquilidad, tristeza, melancolía e infinidad de sentimientos y sensaciones. Creo que cualquier persona que sepa apreciar la música (no sólo el rock y el metal) se dará cuenta de la maestría de cada miembro de Opeth y de las perfectas combinaciones que logran, fusionando estilos tan diversos y que en ciertos momentos parecieran incompatibles.

Javi_tico

Debo decir que estoy muy contento de haber llegado a comentar este disco, porque "Damnation" representa algo de lo que se nutre el blog cabezón: la ausencia de purismos, la eliminación de estilos musicales, y del mismo modo que aquí podemos publicar un disco de black metal y otro de Violeta Parra porque sencillamente nos gusta su música y lo consideramos sencillamente aspectos diferentes de una misma fuente: la buena música y el bien arte, y eso forma parte incluso de nuestra ideología. Este es un disco de rock progresivo que cualquier fanático de Rush, Yes o Pink Floyd valoraría muchísimo, donde sólo predomina la melodía suave, las voces limpias y se podría decir que hasta en algún punto es un disco relajante con bastante influencia del jazz. Sn embargo, esa versatilidad característica en las composiciones de Mikael Akerfeldt confunde y, muchas veces (como pasa en sus últimos discos) deja a parte de su primer público más purista, más metalero fanatizado algo (mejor dicho muy) disconforme.
Por ello considero al "Damnation" como uno de los clásicos discos del blog cabezón, más porque es un grano en el culo para mentes cerradas. Entonces con más razón.
Vamoc con más comentarios de terceros...

Opeth – Damnation (2003): el cambio tranquilo
Imaginad cómo de rico, de profundo, de complejo, de virtuoso, de condenadamente bueno en definitiva, tiene que ser un grupo para que plantee una ruptura como la que supone Damnation sin que parezca algo descabellado, sin que casi parezca algo sorprendente. Para que no sea un capricho ni una boutade, para que tenga sentido, para que puedas echar la vista atrás y trazar líneas de unión con momentos anteriores de su discografía (en lo musical, en lo temático y en lo estilístico) por larga que sea la distancia entre esos puntos y sin ni siquiera tener que retorcer demasiado los argumentos. Pues así, así de ricos, de profundos, de complejos y de condenadamente buenos, más o menos, son Opeth: sólo tenéis que escuchar este disco (por separado primero, en perspectiva respecto al resto de su discografía después) para haceros una idea.
Damnation, el reverso de Deliverance
En el capítulo anterior nos habíamos quedado en el verano de 2002 y allí tenemos que volver porque la historia de Damnation es también la de Deliverance: ambos son producto de las mismas sesiones de grabación, con Steven Wilson a la producción y sus labores (piano, mellotron y demás historias) y obviamente idéntica formación titular: Mikael Åkerfeldt (voz y guitarra), Peter Lindgren (guitarra), Martin Mendez (bajo) y Martin Lopez (batería y percusión). Åkerfeldt contaba de esta forma la idea de esta doble grabación en una entrevista en febrero de 2004:
Había empezado a escribir para lo que acabaría siendo Deliverance y Damnation. Estaba saturado y no me apetecía escribir, no sentía ningún tipo de inspiración.
Quería escribir música pesada, algo más pesado de lo que nunca habíamos hecho hasta entonces, pero al mismo tiempo tenía muchas partes y arreglos más tranquilos que no quería tirar a la basura. (…) Mi mejor amigo, Jonas de Katatonia, escuchó mis lamentos y fue él quien me dio la idea de hacer dos álbumes, uno más contundente y otro más acústico.
En fin, que estaba tan emocionado que decidí que eso era lo que íbamos a hacer. De hecho, tan emocionado estaba que lo decidí antes siquiera de consultarlo con la banda. Pero cuando finalmente les conté mis planes, todos estuvieron de acuerdo con la idea. Eso sí, cuando tocó hablar con el sello hicieron falta más argumentos para convencerles… Básicamente, tuve que mentir un poco.
Mintió y negoció (los dos discos contaron como uno solo a efectos contractuales, con lo que el grupo perdió una suma considerable de dinero), pero al final se salió con la suya: en siete semanas, y no sin dificultades (Åkerfeldt ha declarado que esta grabación fue “la prueba más dura de la historia del grupo”), se grabó material para dos discos, que finalmente fueron editados como álbumes por separado: Damnation, la cara luminosa (es un decir) del resultado, se publicaría el 22 de abril de 2003, seis meses después de su otra mitad.
Cuando los gritos quedan atrás
Y se publicaría provocando un pequeño terremoto en lo musical, desatando encendidas discusiones entre fans, antiguos fans y nuevos detractores que todavía llega hasta hoy. Resumiendo en cuatro palabras: Damnation no es metal. Es un ejercicio acústico de rock progresivo (no demasiado ortodoxo) que acaba más cerca de Pink Floyd que de su tradicional diálogo con el death metal. Y sin embargo, como decíamos antes, el movimiento (por brusco que pueda parecer) no es un volantazo ni un giro de 180 grados: es un paso adelante más perfectamente coherente con su trayectoria hasta la fecha, tanto en lo musical como en su voluntad permanente de renunciar al estancamiento. Lo decíamos al hablar de Morningrise: sin él, por ejemplo, tampoco habría habido Damnation. Casi todos los elementos que hay aquí ya habían aparecido antes: lo que ocurre es que se les deja volar solos y se les lleva un paso más allá. No existe el concepto “ruptura radical” para una banda en permanente expansión como ésta.
En Opeth siempre habría convivido la dualidad, la interacción, el diálogo entre los dos mundos que representa este díptico: lo acústico y lo extremo, lo delicado y lo brutal, el ruido y la luz. El propio Åkerfeldt ponía de relieve esa dicotomía al hablar de la gestación de éste que es en realidad un doble álbum en términos de heavy y mellow, cortes más relajados frente a aquéllos llenos de intensidad. Lo que hace a este disco tan interesante es comprobar cuál sería el resultado si eliminábamos un elemento de la ecuación; lo que lo hace tan grande es comprobar que ese resultado es efectivamente magnífico.
El disco que debería gustar a todos
Visto desde la barrera de quienes a veces necesitamos que el metal nos lo den rebozado, con patatas y mucha salsa, resulta difícil entender que existan argumentos para negar Damnation. Porque no sólo es un perfecto banderín de enganche, capaz de atrapar al oyente no necesariamente especializado y hacerle retroceder para descubrir la grandeza de un grupo como Opeth, no sólo es que suponga un valiente y arriesgado cambio de registro solventado con maestría, no sólo es que su cantante brille como nunca justo en el delicado momento de abandonar los guturales… No, es simplemente que Damnation, venga de donde venga y venga de quien venga, es un disco simplemente sobresaliente: ambicioso, aventurado, denso, dotado de una personalísima atmósfera que lo hace realmente único.
Fascina ese aire de melancolía que atraviesa todos los temas, esa especie de tristeza tranquila (a mí Damnation es un disco que me transmite mucha paz) que toca la fibra huyendo de histronismos. Puede parecer, y sería el último refugio de los recelosos, un sesudo ejercicio disfrutable sólo cuando se asimila al completo (lo cual tampoco sería un drama: es su disco más breve), pero ni siquiera ése es el caso: la admirable ‘Windowpane‘, que abre juego con su inspirada guitarra y su elegante batería, o la bellísima ‘Hope Leaves‘ (el corte que tenéis que ponerle a cualquier ser humano para engañarlo y hacerle caer rendido ante Opeth), forman parte de un engranaje perfecto, pero funcionan también por separado como las excelentes canciones que son.
Damnation es, pues, un disco lleno de amargura (no en vano está compuesto bajo el shock de la muerte de la abuela de Åkerfeldt, a quien el cantante estaba muy unido) y rodeado también de un extraño halo de misterio, como si fuera la calma de una tempestad que nunca llega, como si las canciones fueran a estallar de manera violenta en cualquier momento, pero sólo dentro de nuestra mente. Lleno de música elegante y en absoluto evidente, adelantaría mucho de lo que luego llegaría en Heritage (aunque allí con un enfoque mucho más experimental) y supondría un ambicioso punto y seguido para una banda que en aquel 2002 no parecía tener límites.
Opeth – Damnation: 9,0
El death metal queda atrás y Opeth se atreven con voces limpias, guitarras cristalinas y atmósferas melancólicas. El resultado molesta a algunos integristas pero desde luego nos fascina a los intrusos y nos dispone una alfombra roja para entrar en su universo. Uno de esos discos para sentarse a paladear y regodearse si hace falta.

poliptoton
En definitiva, para muchos este disco es una gran puerta de entrada para poder disfrutar de Opeth en todo su esplendor. Y que también sirva para los veteranos progresivos aliados a la música sententosa a que puedan abrir un poquito más sus mentes y empezar a escuchar una banda que si la lográs digerir un poco, vas a lograr disfrutar a lo grande con sus discos de cualquiera de sus etapas. Ya lo dijo Robert Fripp (aunque no recuerdo textualmente sus palabras): nuestra música es una música que se debe buscar, refleccionar, digerir, no es música que ya viene digerida desde la primera vez que se la escucha, sino que uno como oyente debe ser protagonista de la construcción mental de cada uno de los temas que escuchamos, así que con Opeth varios deberán sentarnos a digerir un poco su discografía, pero al fin y al cabo es algo que cualquier amante del progresivo y la buena música está dispuesto a hacer: buscarle la belleza a cosas que de primera mano no se entienden y no se conocen. Y esa apertura es de las cosas más lindas que tiene nuestro amado rock progresivo.

So this is part two of the 'double release' together with "Deliverance". Damnation isn't the style of music Opeth normally stands for. Sometimes there are songs on earlier albums sounding similar but a whole album in this style isn't normal for Opeth. We also got to know that there will not be a similar project in the future and this album just was a short excursion. What we find on this album is a lot of Porcupine Tree and Camel. Not astonishing because Steven Wilson is a good friend of Mikael and Peter (Steven Wilson even played Piano on Mikaels wedding with his wife Anna) and produced this album as well as "Blackwater Park" and "Deliverance". On this one he also appears as a musician, he played all keyboards and I think he also has some vocal parts, at least some backing vocals. And that's the style of this quite mellow album, beautiful prog songs with a strong Porcupine Tree and a flimsy Camel touch. The instrumental 'Ending Credits' is said to be 'riped off' from Camel, that's what Mikael himself said on the DVD release "Lamentations..." now we can guess what this "ripped off" could mean, strong inspiration or just copied...no one knows. So this is a very fine album by this great band but totally different to their other releases, like said before exept for some songs on earlier albums. If you like Porcupine Tree or Camel this album is a good one to buy. But even you don't know Camel or PT you can't do anything wrong with this one.

diddy

OPETH . I'm a fan for years now but the band didn't get a real chance on our site (except a concert review and a recent interview) because it was clear that proggers were resented by the heavy intermezzi and the rolling grunt. From time to time there were some voices rising that rather liked the music. And, as Mikael told us recently during the interview, "Damnation" is a CD that will be appreciated by the most obdurate progfan. There's no excuse for not buying this any longer. It doesn't mean that the band is selling out or that they want to get round a larger public by all means but it's just a natural evolution from this collective of skilled musicians. After the heavier "Deliverance" there's now the quiet "Damnation".
The music of OPETH has always been an achievement for which you needed to spare some time. The mission for the listener was "getting into it", not a volatile in-between. And there's no change for this one, because the longer tracks still contain several atmospheres, but the changes are very smooth and make this "Damnation" generally speaking a lot easier to digest than the modal OPETH album.
Mikael Akerfeldt is a man with an open view on the (music)world. He didn't make a secret of his appreciation for adventurous progbands of the seventies. Inspired by this period, he started to occasionally compose fragments which became this "Damnation" album. "Windowpane" is bursting with mellotron sounds, but has also a Gilmourian guitar solo pasted on. I suppose I don't need to tell you that Akerfeldt has a beautiful, sensitive voice with a sad touch. During the community singing, you can hear the influence of pal and producer Steven WILSON.
"In My Time Of Need" could have been a KATATONIA track. The chopped off phrases of the vocals are a direct cross-breeding with Jonas Renske. But then the song flourishes into Mellotron heavens again. I would dare say that it's a crossing between PINK FLOYD and PORCUPINE TREE. The choruses are so strong, that you can't get them out of your mind. And don't underestimate the vibrating bass play of Martin Mendez, who takes care of some beautiful marginal notes in "Death Whispered A Lullaby" and is present in an entertaining but humble way on the whole album. A bit later, there's a special spacy guitar eruption which, together with the floating keyboards, will even bring every ascetic into the clouds. In "Closure", I hear a relation with ANATHEMA, especially in the vocal style (Vinnie) and in the classical, acoustic guitar playing. (Danny).
The timbre of this song evolves into some jazzy style and changes to a friendly chaotism, it seems like a whirling jam session in progland. Even almost acapella pieces appear, community singing like CSN&Y and psychedelic outbursts for which PORCUPINE TREE (especially in the early days and live) took out a patent for.
Slightly distorted vocals and fine guitar riffs are the ingredients for "Hope Leaves". The "crescendo" choruses are each time very strong and believe me, it's on these moments that this CD reminds me of the latest Dan Swanö. After all, it's six of one and half a dozen of the other of rising talent up there in Sweden. Just check the small writing on any OPETH, NIGHTINGALE and KATATONIA CD! (yes, when I notice that if 1 fish is frying, why not take the whole breeding pond with it, haha)
The instrumental "Ending Credits" would be a beautiful soundtrack for a documentary about all the beauty of the high north. With images of Mother Nature and all those musicians, even the title would be appropriate. And when the last sounds of "Weakness" have faded out, I eagerly push the repeat button of my installation. The fan of the early OPETH runs a high rish to be waiting for an outburst, because this is QUIET. But it's so marvellous, melancholic and artful, that this feeling is merged into pure delight.
If you aren't convinced now, you'll never be. And I can't help mentioning: I feel a bit triumphant that you finally freak out for musicians who are my heroes since long. And as they would have written in ROLLING STONE during the seventies: this album must be in every record collection!
9/10

Vera "Gothica"

The inclusion of Opeth within this forum has probably been the cause of more debate than has any other band; to listen to a majority of their recorded output, one would never consider in your wildest dreams connecting the words 'Opeth' and 'Progressive'. There are hints to find, if you look hard enough - the final track of 'Morningrise' for example hinted at gentler leanings (like the first shaft ofsunlight after a violent storm), and if you check out the Opeth website, you can see their preferred listening is surprisingly progressive, and they all seem to worship Camel as Gods...... (no, Camel the BAND - they do not worship dromedaries!).
'Damnation' was recorded at the same time as 'Deliverance' - one of their most brutal albums to date, but released a year later; it is difficult to believe this is the same band, and get a real sense of four musicians stretching their wings (hopefully, not for the last time). With Damnation, what you get is a sweeping album of beautifully layered, classic 1970's progressive rock, and despite the occasionally repetitive song formats, and one very obvious nod to Led Zeppelin (play the final track 'weakness' back to back with 'no quarter', and you'll see what I mean) you will find yourself going back for more time after time.
Although the four regular members of Opeth play their parts to perfection (Akerfeldt's vocals especially deserve recognition), part of the success of this album has to lie at the feet of Porcupine Tree's Steve Wilson, bringing the crispness of PT production to Opeth exactly when they need it most, together with restrained, yet highly effective Mellotron/piano work. I can honestly say that since I bought this album, it has become one of the most played in the household, and went instantly into my top 10 of all time.

Jim Garten

Death, doom or prog metal? I say spotlessly crafted, revealing music. This Swedish band has certainly struggled to detach from the incessant clichés and critics surrounding the so-called prog genre DREAM THEATER christened in behalf of the metal influences they adopted to manufacture their music (presumably under the incursion of URIAH HEEP, but I personally don't buy that theory). And they have done such an astonishing work to probe the media and the stereotypes wrong: "Damnation". So plagued of inventive on instruments that appear to come to life and of innovation when it comes to blend several music styles, OPETH is becoming one of those bands to remember as precursors and icons.
It is certainly quite impossible to think of music without music. If way too many bands wouldn't have existed, much of the essence sustained by OPETH wouldn't have either. That's why much of the effort put into every production by the quartet from Stockholm, has turned into a distinguishing particular label, an unbreakable transitional seal that has become stronger during the years, translated in recognition and acceptance from the fans. Constant in instrumentation updating and interminably restructural from within, OPETH is a band that once claimed for a spot, and know, many prog bands set themselves the goal of becoming a bit of what the Swedish band has become.
"Damnation" is the ultimate destination of the OPETH new era that commenced back in the early years of the breakthrough decade with "Black Water Park". This is the album that determines and establishes the final formula to be applied by restless and discomforted bands of the yet inaccessibly prog sub-genres. The so mentioned effective formula is portentously displayed in pieces like "Closure", "Windowpane" and "To Rid the Disease". The entire album is played mysteriously ease and quiet in the beginning to awake our suspiciousness, but the strike of adventurous instrumentation to be received forward on as the music flows, is absolutely comfortable and rewarding. OPETH is definitely indispensable to your prog collection.

The Prognaut

Wot, not growling?
As someone who is not particularly keen on the "death metal" genre, I have not previously experienced the music of Opeth. Various reviews (including those on Amazon UK) had however indicated that this album represented something of a change for the band, being much more melodic, and even suggesting similarities with The Moody Blues and Barclay James Harvest.
My attention duly captured, "Damnation" became my first experience of the band. Certainly, there is not a grunt or growl in sight (earshot?), the vocals being soft and melodic. Bands who came to mind as I listened were Porcupine Tree, Camel, and Pink Floyd.
The album is very acoustic, to the point of almost being understated, with a steady pace, never getting particularly excited or for that matter depressed. "Windowpane" opens with some pleasant guitar backed by some good old mellotron (played by Steve Wilson of Porcupine Tree, who guests on the album.). "Death whispered a lullaby" is not nearly as doomy as the tile suggests, the hints of orchestration setting things up nicely for the rather trippy ending.
"Closure" is the most Porcupine Tree like, Wilson is presumably well to the fore here, hints of Anathema's more recent works too perhaps. "To rid this disease" is where the Moody Blues similarities really appear, some fine up front mellotron again (Court of the Crimson King like), almost pop vocals, a strong melody, and some good guitar too. It could have been recorded 30 years ago, and sounded exactly the same.
"Ending credits" sounds like Andy Latimer (Camel) has strolled by guitar in hand, and picked out a tune as he passed. The ending credits to "The snowgoose" perhaps? "Weakness" is indeed perhaps the album's only weakness, being a rather sparse, slow, spacey piece, with suggestions of Syd Barrett.¿
By all accounts, this is not a typical Opeth album. That I am not qualified to comment on, but this is a fine album by any standards, worthy of your attention and certainly worthy of gracing this site.

Easy Livin

Damnation, despite lacking the harder elements of Opeth's music, is in fact one of their strongest efforts that I have heard thus far. I credit this to the sheer versatility of Opeth's musicians, most particularly their drummer, Martín López. López has mastered a wonderful softer style now that is very much like a session musician who has worked with artists including Peter Gabriel and Rick Wright: Manu Katché. Katché, incidentally, is one of my most respected drummers ever; it means a lot for me to compare someone else to him. What distinguishes López and Katché both is the cymbal work, and (as it was once called in Katché's case) their "ornamented grooves". As for López, he shows off his style wonderfully here, especially in songs like "Windowpane", "In My Time of Need", and "Closure".
Unlike its companion album, Deliverance, Damnation is supremely listenable by itself-- remarkable perhaps exactly because it is so different from their prior work. The use of the Mellotron here is outstanding, to produce those eerie string and choir sounds--the Mellotron works particularly well on the opener, "Windowpane". The next song, "In My Time of Need", has some of the best lyric work on the album even with the strange pacing in their delivery, as well as an amazing drum sequence from about 2:40 to about 3:08 (if you like that, I recommend checking out Rick Wright's album, Broken China, for the drum sequence in the song "Far from the Harbour Wall".). "Death Whispered a Lullaby" is most notable for its vocal harmonies. "Closure" is probably one of the strongest tracks of all on this album; the middle and ending jams make it one of the wildest Opeth songs there is--yet without having to raise the volume to ear-splitting levels! The abrupt ending is absolutely a moment of genius.
"Hope leaves" took a long time to grow on me, I'll admit. But once I realized just how personal and how beautiful it is, I actually came to think very highly of it. "To Rid the Disease" is absolutely haunting, and another lyrical highlight, especially because of the delivery of the line, "I have lost all trust I had in you!" The obsessive, cold piano riff is sure to send a chill down the spine, as well as the final synth chord just left hanging there. "Ending Credits" is pretty, but its main function seems to be to lead into the most experimental Opeth track of all time: "Weakness". This, the softest song of all on Damnation, is best appreciated in a quiet room with headphones; that's the only way to pick up on all the subtle, beautiful things being done with the keyboards.
Don't look down on Damnation simply because it's a "soft" album; rather, I suggest listening to this as a way of appreciating the skill with which the band members approach their instruments. Even if you are not normally a fan of "metal" at all, I highly recommend picking this one up, because otherwise, you will be missing out. Opeth is not a one-trick band, and I think this, more than any other thing they have going for them, will provide them with the true staying power that so many bands lack (especially these days). It's hard to believe Opeth has been releasing albums since 1995--but I think, judging by this, that they are going to be around for a whole lot longer.

FloydWright

This is my second review of this album. In my first review i was rather harsh on this album because it had no metal elements. At first i found this disapointing as it only has mellow tracks so i didn't give it much of a chance. I still think that Opeth had a better writing formula on "Blackwater Park", as this album had the perfect balance between mellow and heavy parts.
"Damnation" is a work of beauty, i can barely imagine any other heavy metal band being able to make an album like this, especially a band of such extreme heaviness. Opeth have always dazzled me with their mellow moments as well as their heavy moments, they have so much range and Mikael is one of the best vocalists i have ever heard. Imagine a band like Metallica trying to go for a mellow album like this! 9/10 bands who would try something like this would probably come out with something very poor. Opeth took the dare and produced a beautiful album that is a great example for other metal bands to follow, it shows that a metal band isn't just about heavy riffs and harsh lyrics and vocals.
Some of you hardcore metalheads out there might experience a sense of loss with this album, as i first did, but it is still Opeth at their best and the songs here are very familiar to the mellow moments on their other albums and it really does sound like pure Opeth. It would be really interesting to see how the crowd react to this album live. It is hard to imagine a bunch of metalheads swaying about and singing their hearts out rather than moshing and headbanging.
This album may not be a great intro for the new Opeth fan, I now have all of Opeths albums and i have made some observartions. Firstly, this album sounds a lot better now i have all their albums as it is great to just put on a pure mellow Opeth album inbetween listening to their superb riffs and heavy vocals. This album will sound a lot better if it is one of the last albums you purchase (this was the second album by Opeth that i got, so it didn't sound as good at first). Secondly, this album sounds great when played alongside its bigger brother album, "Deliverance", as it sounds like part two of that album, the mellow side, as if the two were meant to be a double album.
I think the standout tracks on this album are "Windowpane", "Closure", "Death Whispered a Lullaby" and "Ending Credits". The latter being an incredible insturmental with great acoustic and clean guitar work, it sounds similar to Santana's guitar style. "Windowpane" is my favourite track and it is a great way to kick off the album, it has a lush gloomy intro, some excellent vocals and strong guitar soloing. Each track on this album follows similar patterns but explores Opeth's mellow side in different ways. You will not hear one heavy riff on this album.
Damnation shines with originality and will forever remain a classic album. I can't think of any other metal band that have attempted something like this and Opeth have pulled it off fantastically. A worthy purchase, but i advise buying "Blackwater Park", "Deliverance" and "Still Life" first.
PS. You mellotron fans will go nuts over this one!

frenchie

After hearing this good album in several occasions, and to see the dramatic change ( good for me ) of Opeth, to be a mystic band with a power metal, to a progressive sound, , encounter influences of king crimson here, but anyway, the album is a good surprise for all the opeth fans, ( and no fans like me ), because the great and beautiful voice of Akerfeldt only shows softly, he doesnt use his powerfull and guttural voice , all Opeth fans will miss that voie, in my particular point of view , is great that voice , but i dont like it nothing, really i hate the songs with guttural voice, ( most of the times that voice we found in metal bands), for me is only noise, mmm... is great for some pieces of any song, but i prefer didnt hear it, well, my point is that this change is good, i dont like really the old opeth, not only for the voice, also musically, is heavier and boring to me, is for that reasons that i desire this album, because is different, and the change is really good, lets talk about the sound, the guitars sound more " prog" and more complex too, in some songs Akerfeldt show us his brilliant technique , and that technique sounds in the album, the songs are tranquil and smooth, and the atmosphere is nice, i think any opeth fan hates this album , but to me is the best . For me is always important the opening song, here we found "windowpane", one of the best songs in the album,a very great opening track, "in my time of need" is the song who sounds like crimson , with the mellotron and a effusive prog sound, " closure" , you find it here on mp3, that song is beautiful, the guitars and the final movement is great, " to rid the disease " is another great song , good to someone, bad for others, but is the flavour of Opeth, the other songs are also good , but i prefer end here, in the last song, " weakness ", the rarely song of Opeth, is very quite, very soft, only the voice of Akerfeldt, and a slow fund of music, i dont call a masterpiece, but this album is very good, a great surprise for me.

Diego Urpilleta

Damnation was my first album of Opeth, recommended to me by someone who also liked Porcupine Tree and Riverside. I fell in love with this album at first spin and it didn't come out of my cd-player for days!
Deliverance and Damnation were both produced by Porcupine Tree's Steven Wilson and the idea was to create two albums that would be counterparts; meaning one mellow album and one heavy album. Deliverance would be the heavy one. SW once said in an interview (on the Lamentations dvd) that he thought he could especially be of great help on the mellow album Damnation. I think he was right.
Okay, maybe some hardcore head banging Opeth fans weren't pleased to hear that even Opeth had a "mellow-side" to them. However, why does all music have to fit in boxes and shouldn't bands or artists explore their limits and different styles? I think that's what PROGRESSIVE music is all about!
You could also put it like Mikael Akerfeldt put it: what's wrong with people other than Opeth fans start to listen to the band because of this mellow album? I got interest in this album myself because it was recommended to me by a Porcupine Tree fan, like myself. This album literally blew me away and I couldn't help it just to push the "repeat all" button and listening to it over and over again! And after liking Damnation so much I also purchased Blackwater Park and Deliverance. Musically all great stuff, but personally the "growling" of Mikael is not really my cup of tea. I just keep wondering why a singer with such a great voice prefers to use his "cookie monster vocals" rather than his "clean vocals". As I learned that there's many "clean vocals" again on their latest album Ghost reveries so I also decided to buy this one. Just waiting for it to arrive.
Okay, enough about the general Opeth stuff! Lets get back to Damnation. Great album from track 1 to 8. Or should I say 1 to 7, because actually I find track 8 Weakness a bit strange. My personal favourite tracks definitely are the album opener Windowpane and the tracks In my time of need , Hope leaves , To Rid The Disease and the SW track Death Whispered a Lullaby . But actually it's only a question of good, better, best, because all tracks are really worth it!
Funny thing to me is that it seems that Steven Wilson gets the best out of Opeth's "mellow part" while SW himself is moving from the mellow stuff towards the heavier side in his band Porcupine Tree. E.g. "Deadwing" is quite a bit heavier than "The sky moves sideways", "Signify" or "In absentia". Why is this? Maybe due to the collaboration with Opeth? Who knows! Only thing that matters is that they were able to do well without each other, but they are doing GREAT together! Enjoy Opeth and Porcupine Tree!
To me this album is essentiall: a masterpiece of progressive music!

evenless

Over the years, I have always considered Opeth's music different from the norm. They have always been considered as one of the most creative and innovative death metal bands in the world. But with Damnation, the listener is introduced to the tenderhearted creative side of the band. Although Opeth have always included acoustic guitar interludes in their music, the band has chosen this time to take this approach a step further and have created a very mild and smooth album, poignant but never harsh or brutal. Standard song arrangements with progressive influences and very subtle orchestrations are used throughout the album.
In fact, the whole album is easy on the ears. Meandering lead guitar work, more prominent strong bass lines than ever before, subtle and interesting instruments such as a mellotron, a grand piano and other keys with 6 and 12 string acoustic guitars leading the way. Sometimes longing and occasionally haunting but Damnation is always interesting and a very enjoyable listen from beginning to end.
As always, Mikael Akerfeldt's lyrics are creative, unvaryingly deep emotional run of the mill stuff.
Sample Lyrics to WINDOWPANE:
"There is deep prejudice in me Outshines all reason inside Given dreams all ridden with pain And projected unto the last"
If you listen to this album and are expecting the heavy parts to kick in at some point and time, you will be greatly disappointed...for remember, this is a non-metal progressive album by a progressive death metal band!
It is a rare accomplishment for any band to perform very well from one extreme to the next - Damnation contains not one growl, not one heavy riff. Truly amazing work!
Don't take my word for it, just listen to this fine work of art for yourself and experience what I and many others have said and how truly wonderful it is to sit through this album from beginning to end.
One final thought. The band originally intended to release a double CD with both DELIVERANCE and DAMNATION being recorded at the same time. But, "someone" made a decision to release them separately; dividing what I believe could have been a masterpiece in progressive music. Instead, we got two very different albums. One could easily fathom that Opeth "delivered" us with their very heavy album DELIVERANCE and then in contrast offered the nations of the world a "damn" good mellow album...

Vanwarp

Clearly, Opeth are the type of band that forces a reaction from the listener. Nothing more, and nothing less. "Damnation" proves nothing else in that it causes no exception to this theory in that one either hates them or loves them. Mikael Akerfeldt was inspired by a good friend of his from Katatonia to release a sort of 2-part album, and the idea then became the thoughtful, yet brutal "Deliverance", and the sensitive, dismal "Damnation".
Opeth's "Damnation" is a one-off album. Ok, we got that little detail out of the way. This isn't meant to sound like Opeth at all. If you know ANYTHING about this band, it should be that Mikael Akerfeldt absolutely worships the psychedelia movement of the 70s, and most importantly, Camel.
Listening to this album, you get that old Yes feeling. Sadly, this album lacks the acoustic guitars that Opeth has favored in their clean songs in the past, choosing a clean electric guitar for most of the songs. But even then, the album is just superbly done. Everything you expect to find in an album of this genre is there: the amazingly clean and melodic vocals, the soft, clean guitar tone, progressive drumming, and of course, the vocal harmonies that made the genre what it was. It's all there, and this effort just goes on to prove how well rounded the musicians in this band are.
As for the individual songs, I tend to favor the middle of the album, from tracks 3- 6. "Closure" stands out for me, in part because of that wicked ending section, in which that guitar effect makes it sound like three guitars being played, and the tamboril being played in the background adds more percussion and acoustic tones to the whole thing. It's great, and I know many people that were usually turned off by Opeth were giving them a try after this album, and not just this one ;). I also enjoy the song "To Rid the Disease", which is written and performed in a way so it sounds like the moment is morosely hopeless. I also think it's the first time I've ever clearly heard Martin Mendez's bass playing in an Opeth record. O_o
The other songs on the album range from decent to good. "Death Whispered a Lullaby" and "Hope Leaves" have some pretty good lyrics to them, and Mikael's voice on the chorus of "Hope Leaves" is just great. I'm not too wild about "Windowpane" or "In My Time of Need", but I'll give IMTN credit for having the most distinguishable acoustic guitars along with Closure. The track "Ending Credits" is a pretty nifty instrumental, and Mikael wasn't kidding when he said on the Lamentations DVD that they "ripped off" Camel. The influence is there, and I think it sounds great. The only song that should have not made it is "Weakness", and it's probably why I didn't give this album a higher score. The keyboards aren't very good for this track, and it just seems very rushed. Maybe a little more effort and it could have been better.
All in all, most metalheads hate this record. Fine, I don't care. They are truly missing out. People that actually enjoy different types of music besides metal can appreciate this album. Enjoy it for what it is folks. It's not meant to be compared to Morningrise, Hearse, or Still Life. This one is for you prog people, but don't have too high expectations on it, since it's lacking the variety/alternations of Opeth's other material.
album rating: 7.5/10 points = 76 % on MPV scale = 4/5 stars

Marc Baum

Well, well, well...
"Damnation" was the second album I heard from Opeth, after "Deliverance"... At this time, I was a fan of the "Deliverance" sound, growls and strong guitars, so when I bought "Damnation" and listned it for the first time, I was a little dissapointed... Too soft, too slow, too boring... Before hearing it, I was aware of the difference with "Deliverance", the ambition of the band of releasing two completely different albums... But the surprise wasn't smaller.
Nevertheless, with a deeper listening, my vision of "Damnation" changed completely... This is the most special Opeth's album, and a true masterpiece for itself... "Deliverance" is the evil and anger, "Damnation" is the melancholy and sadness. The predominant acoustic guitars's sound is maybe the best I've never heard, along with the warm bass, the great jazzy drums (I will miss Martin López so much in this band...), and the precious work of keyboards and mellotron by Steve Wilson. After the first Steve Wilson's production with Opeth in "Blackwater Park", he made a work even better with "Deliverance", but the real impressive work of production is "Damnation"... The details and deepness of this music is marvellous, and really really catchy after a few listenings... When you hear this album, the 70's years come to your mind, with all their magic.
Before "Damantion", Opeth made great acoustic tracks like Face of Melinda, Benighted, Harvest, To bid you Farewell... But nothing really comparable to the greatness, personality and melancholy of "Damantion". With "Blackwater Park" they learned how to get a great sound in acoustics, and with "Damantion" the learned how to use this sound to make the most impressive collection of acoustic songs of the last years...
Conclusion: the most special Opeth album, a great exception in their career... But really really enjoyable. If you don't like Opeth because their growls and very heavy guitars, then try "Damantion", because you will be surprised... Strongly recommended for Pink Floyd, Porcupine Tree and the 70's melancholic progressive rock lovers. A beautiful masterpiece...

The Crow

The best place to start for those who do not like metal, and wish to get into the band Opeth, is here, at Damnation.
This is not typical in your face Opeth. This is some laid back textured Opeth, with some of Martin Lopez's best drumming. Highlights here are Windowpane through To Rid the Disease, with the last tracks being more on the yawner side. The album has the sounds of one right out of the 70's, and the textures here are unlike anything on Opeth's previous work.
Closure really shines here, one of Opeth's most underrated tracks.
Good for those looking to get into the band Opeth or for those looking for something a bit more relaxing from typical Progressive metal.

OpethGuitarist

This is Opeth seventh album and was released in 2003. In the making of this album, Steve Wilson from Porcupine Tree, was involved, since Blackwater Park. The major thing about this album is the vocal style from Mikael Akerfeldt, which is totally different with other Opeth's albums. No growling.
For those of you who are new to Opeth, here is litte information. Opeth is a band which has a unique musical style, to combine a death metal with softer progressive rock, most of the time, these elements fused in a song. So basically, sometimes a song can have a death metal style with growling vocal, while at the same time, the style changes to softer. I believe this is the main character of Opeth, which is Akerfeldt's vocal style. His vocal sound, undoubtedly, is one of the best in progressive metal music. His growling vocal is just great, jaw-dropping growl, while his clean vocal is just amazing, deep and just fit the songs perfectly.
Actually this is my fifth Opeth's album, after Ghost Reveries, My Arms Your Hearse, Still Life and Blackwater Park. Honestly I prefer their other albums with a mix of death metal and softer rock. Nevertheless, this is an amazing album, has a very deep emotion and great song compositions.
The great thing about this album is, although they offered a much softer album, the songs are not that poppish and simple. They still added some progressive elements and beautiful solos to complement the songs. Also, though the songs are mellow, Opeth still brought a dark and mysterious concept; mostly about desperation and death (the CD cover is somewhat scary). But yeah, the best thing is the emotion and feeling on each song, through the great songwriting and Akerfeldt's great vocal.
For the individual songs, my favorite track is In My Time Of Need, because the feeling of the song is just overwhelming. Moreover, the chorus, "And I should contemplate this change, to ease the pain." After that the song's feeling changes at the bridge part, becoming darker with a simple but nice guitar solo. Too bad that Opeth didn't offer a hard rock song; I mean, the songs in this album are great, not that death metal, not that mellow. However I expect something heavier than this, more distorted guitar and dynamic drum riffs. It is possibly because I bought other Opeth's album first, then this album. So probably I already like Opeth's growling death metal style as it is. The other thing about individual song is the second last song, Ending Credits, which is an instrumental song (its not so Opeth typical). The song is very nice, calming and very cool. The background of the song is an acoustic guitar sound with a softer rock drum style. This instrumental song has the "verse chorus verse chorus bridge" structure, not really showcases Peter Lindgren's skills, as its just an "ending credits".
So in the end, I would probably give four stars, because I am actually comparing this album to other Opeth's albums. What this album need is just a slight increase in the musical style, need heavier rock, and although I know this album was intended to have a softer style than the usual Opeth. Oh, about you, the potential listeners, I don't think this is a really good album to start with Opeth, as this album is not the 100% Opeth. If you want to like a band, or just listen to a band, I reckon its better to listen to the real style first, and then go to the second style of the band, just like Damnation by Opeth.
Listen To Music, Not War!!!

imoeng

In 2003 metal band Opeth released their first full non-metal album. I can think of only one word to describe this album: poetic.
Most compositions can be compared o the mellow tracks on their previous albums, but all tracks included here are far more thought-out and more complex than any of those.
One of Opeth's trademarks is their mix of grunt vocals and mesmerising, beautiful clean vocals by Mikael Äkerfeldt. Although none of the grunt vocals were included here (you'll have to listen to this album's counterpart "Deliverance" if you want to hear metal), this album still feels as a true Opeth album. Perhaps it is the Porcupine Tree-esque soundscapes that Opeth has managed to incorporate in their music over the last few years that makes it all so familiar? Steven Wilson (Porcupine Tree, Blackfield) being the band's producer for the last set of albums as well as a guest musician, a friend and maybe even more important: an inspiration, clearly effected the band's output. and for the better I think.
I have listened to this album many times; it is one of those chilled-out albums which one can listen to regardless the time of day or the mood he or she is in. The overall tone is melancholic and laidback, which might be a bit tricky on first listen for prog music fans, because it does not come across as highly complex music, but when you give it a more in-dept listen, you'll hear layers of sounds that were sort of inaudible at first. You'll even notice that although it is a mostly acoustic album, i.e. the 'feeling' of the album comes closer to acoustic rock such as ANTIMATTER's "Planetary Confinement" album, there still are several metal elements included here. For instance Martin Lopez's drumming on the track Closure is pretty heavy compared to the rest of the composition of the song, well maybe even heavier than any of the other drum patterns on the album. Or what about the fairly aggressive guitar solo's in the song Death whispered a lullaby (which was co written by Steven Wilson)?
In combination with the album's counterpart "Deliverance" this sums up what Opeth stand for nowadays and if you listen carefully to both albums, you'll see what triggered the perfect balance of pure metal vs. space rock and prog on Opeth's most up to date album: 2005's "Ghost Reveries".
Oh and as I said in the introduction to this review, I cannot help but notice the poetry. each of the songs sounds melancholic and mostly as if someone is in some sort of mental agony. But instead of showing these emotions by composing heavy music to comfort the feeling, these Swedish musicians decided to show it via beautiful soundscapes with gentle melodies and vocals. Just take one look at the lyrics of the songs and you cannot help but notice that Äkerfeldt has a thing for writing in a cryptic and mysterious fashion, but perhaps even more important: his words work as the perfect background for this gloomy 45 min long trip.

Tristan Mulders
Si quieren leer más comentarios en inglés, hay muchos en la red. espero que lo disfruten y que varios conozcan, a través de este disco, a esta gran banda.

Lista de Temas:
1. Windowpane
2. In My Time Of Need
3. Death Whispered A Lullaby
4. Closure
5. Hope Leaves
6. To Rid The Disease
7. Ending Credits
8. Weakness

Alineación:
- Mikael Åkerfeldt / electric & acoustic (6- & 12-string) guitars, vocals, co-producer
- Peter Lindgren / guitars
- Martin Mendez / basses (fretted & fretless)
- Martin Lopez / drums, percussion
With:
- Steve Wilson / piano, Mellotron, Fender Rhodes, backing vocals, co-producer, mixing & mastering