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Opeth: Deliverance & Damnation

Two great albums reissued as a double, as nature intended.

At last these two records have been released as a double album, as originally proposed, and this makes so much more sense when you play them back to back.

The idea was to have one – Deliverance – representing the band’s heavier leanings, while the other – Damnation – would reflect their more acoustic side. Each record stands up in its own right of course, but there are cunning musical motifs hinted at on one and then significantly shadowed on the other. In essence, what you realise here is that each is a tightly linked counterpart to the other.

Played as a piece, each album is a counterpart to the other.

Thanks to insightful remixes in both stereo and 5.1 surround (Bruce Soord for Deliverance, Steven Wilson for Damnation) this is now a lot clearer. Listen to the former’s For Absent Friends, and then follow this up with the latter’s Death Whispers A Lullaby. While you wouldn’t say one follows straight on from the other, nonetheless you can deduce a harmonic relationship. The same is true of By The Pain I See In Others, which ends the first album. Somehow, this is a prelude to Windowpane, which begins the second. The latter is also the epilogue to the former! Of course you don’t have to spend endless hours painstakingly linking the two. Each can be enjoyed as a separate entity, and they both provide huge satisfaction.

Deliverance was originally released in November 2002, five months before Damnation, and it offers some searing moments, as the band prove they’re still capable of disturbing the ether in a wildly metallic manner. Yet, this isn’t an all-out attack – the band never lose sight of their progressive demeanour. A track like Wreath has enough variation and dexterity to make it a lot more than a revisiting of Opeth’s death metal roots. (Oh, and do keep the album playing past the end, as there’s a ghost track that features backmasked renditions of two verses from For Absent Friends.)

Damnation is clearly a little more laidback in approach, but this shouldn’t indicate any softening of style. There’s still an inherent darkness seeping through Closure and Hope Leaves, and To Rid The Disease is almost claustrophobically stark. Wilson’s production here, as well as his contribution on keyboard, are vital, bringing out so much on the periphery of the arrangements which might have been lost in less capable hands.

The combination of Deliverance and Damnation remains one of Opeth’s greatest triumphs. But only now, with the two pieces finally reunited, is it possible to realise just how impressive, and how connected, they really are.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica (opens in new tab), published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio (opens in new tab), which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.