Thursday is three days in one, and the first is all Dissection. For six hours he takes the Swedish band completely apart: nearly all of the chaos-gnostic Reinkaos, then the whole of Storm of the Light's Bane and, not content with the album, every unreleased alternative mix and demo attached to it, the same songs in 1994 and 1995 versions one after another.
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Wednesday goes from the gothic to the frozen. It opens on an hour of British doom, most of it Paradise Lost, eight tracks tracing the Halifax band across their whole strange career, from death-doom to gothic rock and back, joined by the proto-doom of Witchfinder General and Trouble and the early menace of Celtic Frost and Mercyful Fate.
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Tuesday makes it a third Opeth day in four, and this time it goes all the way in. The long first half is peak-era Opeth played nearly whole: the entire Blackwater Park, their 2001 masterpiece, then the heavy Deliverance and its all-acoustic twin Damnation, the light-and-dark pair recorded together.
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After a silent Sunday, Monday is nothing but Opeth. It picks up the exact thread Saturday left hanging, the Swedish-language half of In Cauda Venenum, the same late, growl-free record now sung in the band's mother tongue, all mourners and gardens and the surface of memory.
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Nothing filed on Sunday. The record runs straight from Saturday's midnight Opeth into a blank page, a full day that never registered a single play.
Read the full entry →Every night a machine pulls the day’s listening off Spotify, lays the tracks out in the order they were played, and files a short note beside them: part review, part diary, part cold read of a man’s mood by his rotation. Just the record and the machine’s take on it.
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