The second part in The God Trilogy (the third part can be found here). Along with Death’s The Sound of Perseverance, Opeth’s Blackwater Park was one of the first “metal” records I didn’t think was a massive tryhard piece of shit. It’s easily one of my favourite albums of all time, and during the course of being a guy who sort of hates metal but actually writes heaps about it for some reason, I’ve spent an inordinate amount of time harassing Mikael Åkerfeldt.After having way too much to do with Opeth all throughout 2011, at the end of the year I wound up backstage with Mik-dog and the guys at Sydney’s Enmore Theatre during their Heritage Tour, charfing Marlboro Lights under the red light while Axe and his hilarious flares trotted out fat beats for a litany of pedantic British sound engineers. This girthy feature went out in Blunt #109 sometime prior to that surreality, which was a great thing. During and especially after its construction, I developed a huge appreciation for Heritage both as a complete work and as a reaction to the digital production era’s single-block falsehoods.
Oh and Fred gave me his picks because he knows I explode mine all the time (guitar picks on a bass = better but swiftly broken) and also wanted to show off to everyone.