Incredible - again a masterpiece!

It's amazing how the Swedes Opeth manage to always maintain a high degree of recognition and you can therefore hear a thousand bands. From album to album does not adversely overly much - yet they never repeat themselves and cut down especially without compromise to take a hammer disc after another out.
Even the latest work "Ghost Reveries" is in my opinion once again become a masterpiece. It's hard to say whether it can compete with my personal favorite "Blackwater Park" and "Still Life", but I see it definitely stronger than "Deliverance", which is also true - as all Opeth works - a strong album is for me but still represented the weakest of the band so far.
The first track "Ghost Of Perdition" proves once again that the opener at Opeth are among the strongest songs of the band - in the tradition of "The Moor", "The Leper Affinity" or "Advent"; somehow really a typical Opeth opening track. Relatively catchy, but not so that it hangs on the spot in the ear, but we checked in after a few runs, what was actually are incredibly horny riffs at the start. But then you look forward to after the more ...
At the following "The Baying Of The Hounds" that I look after now at least ten to fifteen times listening to the album as the best piece, the inclusion of the Hammond A very good measure, the more variety and falls for the first time to really. color in the band's sound brings. The organ or even the keyboards comply nevertheless gratifying discreetly in the background, but when they come, they fit naturally. But we know that Mr. Åkerfeldt and his colleagues are absolute perfectionists who have a clear idea of when what should sound like.
"Baying Of The Hounds" In any case, although is relatively catchy, but just the acoustic passages are just wonderful, just like the Opeth typical atmospheric electric guitar passage in the middle of the piece.
"Beneath The Mire" with its spacey psychedelic intro and the almost meditative "Atonement" with the pretty guitar melody and the percussions are then two other good examples of the addition of new elements in the Opeth sound.
In "Reverie / Harlequin Forest" finally finally come really tricky, complex passages on - the beginning with nice reef and vocally very lecherous chorus is still relatively easy to grasp, but just towards the end there are some breaks that the song every time make very exciting again.
The situation is similar with the gloomy, mysterious sounding "The Grand Conjuration", where the Hammond aufjault again when Mikael einsteigt with its Growl passages Absolutely awesome because the play really is not exactly Opeth typical -. On the other hand just yet 100 % Opeth ...
But that would be both the phenomenon Opeth declared (that you just have to listen and can these gods band simply does not describe), and that the Swedes have created a disc with new elements again and yet their line have remained faithful.
Incidentally, there is then "Hours of Wealth" (chill the Mellotron) and equipped with wonderful vocal lines "Isolation Years" two more shorter and melancholy, quiet songs that fit well into the overall picture.
So: A renewed hammer that holds many moments of surprise and as always needs a few runs until it ignites, but (and this is true not only for Opeth): I think it's wonderful when you present albums, where you start out not equal all through increasing but knows after a few runs, it is already light. Not for nothing is said that these were the best albums.
Well, at least I hope, Opeth remain with us for a long time and am already looking forward to the next album. This band has taken me completely ...