Before I begin this review, I think in all fairness to it's readers, I should first mention a couple things. First of all to confess a sin, I do not have a copy of this album it's self in my possession. I have seen it's artwork at the band's official site and I have downloaded all the songs on to my hard drive via a popular file sharing program. That said, I do fully intend to purchase an original copy of this metal masterpiece on the day of it's release which for me in the United States is November the 11th of 2002 and it's release in Europe is set for November the 4th of 2002 . To any OPETH fan reading this who may have done the same as me in downloading or anyone for that matter that uses file sharing programs to hear new music from non mainstream bands, I implore of you to buy these albums when they are released! To not pay an artist for a work of this magnitude would be not only criminal, but incredibly disrespectful in my own humble opinion. Which leads me to the next pre-cursor of my review. My opinion of OPETH is VERY biased! I have listened to them for five years now and they have been my favorite band in metal for at least 4 of those years. I fell in love with their 2nd album Morningrise in 1997 and have been following them ever since. The band never ceases to amaze me with each new release and their music means a lot to me. With that, I must say it feels sort of strange to write a review of their newest album Deliverance not having the album's booklet and case in my hands. Anyway, after a brief internal conflict, I have decided to present you the reader with my review of the album.

The year is 2002 and 2003 is quickly upon us. I don't know about you fans, but for me it seemed kind of a slow year for metal. Not a lot of new releases really excited me this year as many had in past years. But never fear, a new piece of greatness from the band known as OPETH is here! And what a great piece of work it is. Another stunning chapter in the band's series of excellence. And like every album OPETH releases, it is different from any other presented previously. This album is also the first part in a 2 part set of albums, Deliverance and the second part, due for release in March of 2003 Damnation. Ever since their debut album, Orchid , OPETH has sought to combine the heaviness and darkness of death metal with mellow, introspective acoustic folk elements and clean singing. The band really does defy any sort of categorization, but if one had to categorize, OPETH could really only be called a very progressive form of death metal. Even that seems too limiting. And while other bands have also attempted this feat, none have succeeded on the level which OPETH has. It seems that since OPETH's debut upon the metal underground years ago, numerous other bands have popped up attempting a similar sound and atmosphere. Some doing an excellent job at it (Agalloch, Novembre……not to say these 2 are OPETH clones, mind you) others not so well. Anyway, this time around, the band has decided to present these 2 elements (Electric and acoustic, death and folk, light and dark) in 2 separate entities. Again, those being Deliverance (HEAVY) and Dammnation (MELLOW). While not entirely I shouldn't say. This album still has the mellow, light, beautiful moments found on past releases combined with possibly the band's heaviest statement to date. However this is NO where near being just a straight death metal album. Again, it has it's moments of introspective beauty, acoustic softness, and fine clean crooning from singer Mikael Ackerfeldt. The heaviness however, reaches moments of Morbid Angel like intensity. Double bass pounding, quick riffage, and solos that bleed from the speakers.
The opening track Wreath is a fine example of this as it truly attacks the listener right out of the gate with it's intense sonic beating. The second track, title cut Deliverance reminds me of the song Black Rose Immortal from the band's Morningrise album for some reason. Not saying the 2 sound alike really, it's just that they both are excellent examples of what seems to be OPETH's true talent. That is, their ability to through their music, have the listener almost floating on clouds in a sense one minute, only to drop them into the deepest depths of hell the next. And yes, to some metalheads, that is not always a welcoming proposition. The song Deliverance also shows some VERY kick ass progressive riffing combined with some AWESOME cymbal and double bass work from drummer Martin Lopez. Again, in a way of speaking, one could almost compare this song to floating down a mad and wild river in a canoe at a high speed being carried with the river's quick and rough current. You may hit a smooth spot in the river, but whatever you do, do NOT get comfortable, for rougher waters lie ahead. Then again, OPETH albums are like that. Yes, they could almost be described as audio adventures! The band is always changing pace and never lets a listener get stuck on one part. Whenever you sense a pattern, rest assured it's about to change. The thing is, all of this is done so beautifully and with such purpose, it is near impossible to not become engulfed in the sonic web the band weaves. The third song, A Fair Judgement features all clean vocals while carrying the heavy and light elements spoken of earlier. Again though, around the 8:06 mark, a HUGE riff comes out of nowhere that conjures images of truly facing damnation and doom and being completely helpless against it's force. It's followed by a short and beautiful little acoustic instrumental called For Absent Friends. This song features some acoustic picking with a light electric solo over the top. Once again though, the tranquility is shattered by the fifth song, Master's Apprentice. And this song positively makes my blood FLOW! The riffing and double bass in this song also sort of remind me of Morbid Angel, but not in a plagiaristic way. Just a similar style. This song also carries a definite groove to it that I just love. It just totally crushes! Sorry to sound like a teenage groupie here, but that's the only way I can describe it. It seems to tap the same vein as Morbid Angel's Where the Slime Live, for me just to give one an idea for the sake of comparison. Wickedly kick ass fucking bad!!!! The whole song doesn't continue in this manner though, the clean vocals and sweeping melody lines appear later in the song and it is truly magnificent. The song almost seems (and again I don't have lyrics) to me like a damned prisoner going to meet his fate. Yet the prisoner is prepared. The acoustic section at the 6 minute mark is also truly gorgeous. The vocals around the 7 minute mark give me a true floating feeling, but again the demon drop into hell appears out of NO where!!! Listening to this band is like reading a good book you just can't put down. You keep turning the pages in anticipation of what is going to happen next.
And like all good story tellers, OPETH takes it's time to achieve it's fully desired effect. The only song on here shorter than 10 minutes is For Absent Friends the short instrumental piece. The final song, By The Pain I See In Others shows the band experimenting a bit. It opens with an electric riff with a sound effect that sounds like it is coming out of an old antique radio or record player. Mikael uses a really cool effect on his growling vocals here that makes him almost sound like he is growling from the bottom of a swamp or through a smoke filled water pipe. There is also a truly great lead around the 3:35 mark, that showcases the band's mastery of melody. Again this song experiments a bit with an almost carnival sounding organ part over some clean vocals that is like nothing the band has ever done before.
Like the previous release Blackwater Park, producer and Porcupine Tree front man, Steven Wilson seems to have brought some of his own sonic tricks into the mix making for a really interesting sound. Elements of world music appear in a couple parts, along with the carnival like sound I mentioned before. In the end the song fades out with some lone vocal wailing after some seconds of silence. This kind of reminds me of parts of the band Soltice's 1998 release New Dark Age just in the way it's done. Again, to draw a mental picture, it's almost like a lone warrior on top of the highest peak of a mountain singing out to those down below him. Or maybe those above? Either way it is REALLY cool and will take a listener by surprise if they aren't expecting it.

All in all, this is a VERY good release which carries my highest recommendation. Right now it is definitely my pick for album of the year of 2002. And with just a couple months left in the year, I don't see any other band coming to take that award. All the members are in top form here. Mikael's vocals have never been better. His clean singing is top notch carrying an emotional fragility that I hear a lot of singers go for, yet never quite achieve. His death growls have never sounded more hellish. I mean they really sound like they are coming straight from the bowels of hell. In my opinion, the man is the best singer in metal today. I have never heard someone who can growl so fiercely yet croon with such a light airiness. Not to mention his guitar playing. Him and co-guitarist Peter Lindgren come up with some of the most interesting riffs my ears have ever heard. Bass player Martin Mendez, as always does a fine job in his department. And drummer, Martin Lopez seems to improve with each new release. His work here is truly phenomenal. From his double bass thrashings to his excellent crashing symbol work. Throw producer Steven Wilson into the mix and you have one of the greatest assemblies of talent the music world has ever seen. Right now, I think this album is just slightly better than it's predecessor, Blackwater Park but I really don't like to say that because at the end of the day, I hold all OPETH albums in equal value. Another excellent chapter in this band's career of mastery in their craft.