For some time, the RMR crew wanted to expand on Opeth. The Swedish prog band of some (a lot of) notoriety captured our attention last with their 2019 piece In Cauda Venenum. A record that didn’t have us all enamored almost five years ago. The poisoned tail was indeed one of those love/hate pieces that will have the hardcore fanboi wallow in the highest praise. Whereas more critical spirits might beg to differ somewhat.
So, not that long ago, RMR covered The Moor‘s latest full-length record, an Italian (wannabe) prog band gone Modern Metal. Some feedback about that band suggested an alleged closeness to Still Life, especially to the first track. Yet, The RMR Review Desk didn’t find a great many connections. Instead, we discovered one damned impressive Progressive Metal piece. Made in Sweden some 25 years ago. That was just before the Y2K hype.1 Go figure, right?
Still Life is a true concept album, fueled by a sturdy theme. The life story of Melinda of eons ago who ended up cloistered in the narrow confines of the Nailed God’s belief system. Her own true love of another faith2 became an outcast but returned in secret. He valiantly tried to convince her to elope but to no avail. But he succeeded in casting doubts into her and she proclaimed her love to him which – ultimately – led to her murder. He is then apprehended and put to death as well by the villains of the play. And thus, both are united in death and will live in the afterlife forever after. How romantic, but back to the music.
And sure enough, whenever a good theme is at play, great things happen. Still Life presents a pretty stellar version of one of those powerful prog pieces. A mélange of hot ‘n’ cold. Artful breaks from harsh Melodic Death Metal to dreamy acoustics, mixed with geeky tech death infusions. And all of that battered by Mikael Åkerfeldt merciless growls and sensual croonings. But it is the mastery of those intermingled styles that truly sold us. Opeth goes straight to the jugular with gritty and razor-sharp metal when the going gets rough. However, once doe-eyed Melinda is in the play, the folky acoustics get feathery and light. In this sense, Still Life truly turned into one of those templates many prog bands attempted to copy but few succeeded.
The RMR crew couldn’t find much amiss on this record. This is one helluva well-balanced piece of the likes we’ve rarely heard. With one caveat perhaps, and that is Face of Melinda. It’s about the soft soul of a conflicted girl, we get it. But noodling about the same sub-theme for some five minutes until your fingers bleed almost bored us to tears. Were it not for the Leprous-esque break into trve prog towards the end, this track might have seriously pulled the rating of this record down. But abject meandering apart, you really want to check out the lyrics. Still Life gorges with full-bodied prose some with a true poetic flavor. And this is a commodity in short supply on most modern albums these days.
So, where does this foray down memory lane lead us? Still Life turned into a red-hot jambalaya of delicate yet caustic harsh metal and gauzy ambient interludes. Sturdy progressive riffing followed by rusty yet excellent solos ready to draw blood. It’s a record of moods, strong emotions, and almost sensual passages, supported by a riot of harsh croaks and airy clears. In short, Still Life is the piece that Wilderun never wrote (but should have). And there’s no bigger compliment we could bestow on Opeth. They’re clearly one big influence for the latter after all.3
If you’re willing to invest in the past for some true prog geekery, then this is one of the records you should own. As to this crew, we’re mighty glad we picked this up.
Ed’s note: Also, check out the Blasts from the Past list for 2024. Juicy and old content awaits you there.
Record Rating: 9/10 | Label: Peaceville Records | Web: Official Band Site
Release Date: 18 October 1999