The C-Horse team certainly know how to make spectacular live videos! Similar to the last one, this video for the beautiful tune “Into The White” is filmed with fantastic images and audio, really emphasizing the greatest moments in the song. It’s recorded at the Brisbane concert at Eaton Hills Hotel, where Caligula’s Horse had the well deserved honour to be the opening act for Opeth. Who needs Opeth when you can listen to these guys? *wink*
If you have been following A Metal State of Mind, you may have noticed that Opeth gets mentioned quite a bit for one reason or another. I guess you could say, as a whole, we like them here. Just putting the bias up front. This time it’s yet another show review; my first from the island nation of Japan. The Roppongi district of Tokyo was the setting for the show; my third time seeing Opeth and my first ever concert that actually ended at a very reasonable time. In short, it was a great night for many reasons and here is a rundown of the evening.
First, I will say that the cost of a show in Japan is more than I have ever paid to see one band. As a result I will have to pick and choose my future shows carefully. ¥7,500 ($62.41, €55.75, kr524.30) seems to be the average price from what I have been seeing lately. The cost was for a standing ticket. If I wanted a seat it would have cost ¥2,000 extra. Seems to me being closer to the action would cost more, but I am sure there is a reason to price tickets that way. Anyway, throw in train tickets (took about an hour to get there), a shirt for ¥3,500 and it adds up to an expensive night out…for one band. There was also a pre-show dinner for about ¥2,800. But, for metalheads it’s always worth it to see a band you love. I don’t have to explain this, you know…
When we Metal State reviewers gave the round table treatment to Opeth’s “Pale Communion” earlier this year I was less than flattering about the album. I said it wasn’t hard enough to be good metal or inventive enough to be good prog.
It isn’t metal. It is, however, damn fine heavy prog rock. That is what Opeth intended it to be, I believe, and that’s what it became.
Opeth and their industry associates haven’t said anything about the review. Nor have my fellow reviewers or any Opeth fans. It’s my conscience that’s been smacking me on both earholes.
I did update my comments and rating of the album in our published review, but such things tend to go unnoticed. If we’re wrong — not necessarily when we’re told we’re wrong but when we know it deep inside ourselves — we should retract and correct. It gives me the greatest of pleasure to concede how very wrong I was about “Pale Communion”. The more I listen to it, the more I know it’s one of the best prog albums of the year.