<div style="margin: 12px 0px; font-family: arial; color: #333333; background: #ffffff; border: solid 4px #e5e5e5; width: 100%; clear: left;"><div class="CM_CTB_Content_Wrap" style="margin: 0px; padding: 0px;background-color: #ffffff;"><div style="border-bottom: solid 1px #dcdcdc; white-space: nowrap; margin-bottom: 8px; background-color: #eeeeee ;background-image: url(http://clipmarks.com/images/source-bg.gif); background-repeat: repeat-x; height: 24px; line-height: 24px; vertical-align: middle; padding-bottom: 4px; color: #666666; font-size: 10px;" ><a href="http://clipmarks.com/clip-to-blog/" title="see clips that are hot right now"><img src="http://content.clipmarks.com/blog_embed/84c370e5-6cdd-4c20-8daf-63a13f6d547a/02A8BD8C-B6B1-4A33-AA56-DAE68D348C6F/" alt="" width="19" height="19" border="0" style="vertical-align: middle; margin: 0px 4px; display: inline; border: none; float:none;" /></a>clipped from <a title="http://www.nytimes.com/2008/06/08/arts/music/08play.html?_r=2&adxnnl=1&oref=login&ref=arts&adxnnlx=1213024837-qS2xiBl5z+BOFHZ2uUTALQ&oref=slogin" href="http://www.nytimes.com/2008/06/08/arts/music/08play.html?_r=2&adxnnl=1&oref=login&ref=arts&adxnnlx=1213024837-qS2xiBl5z+BOFHZ2uUTALQ&oref=slogin" style="font-size: 11px;">www.nytimes.com</a></div><blockquote style="text-align: left; padding: 0px 8px; margin: 4px 0px 8px 0px; background: transparent; border: none;" cite="http://www.nytimes.com/2008/06/08/arts/music/08play.html?_r=2&adxnnl=1&oref=login&ref=arts&adxnnlx=1213024837-qS2xiBl5z+BOFHZ2uUTALQ&oref=slogin"><NYT_HEADLINE _moz-userdefined="" type=" " version="1.0"> Folk in Death-Metal, Nintendo in Techno </NYT_HEADLINE></blockquote><div style="height: 2px; font-size: 2px; background: #dcdcdc; border-bottom: solid 1px #f5f5f5; margin: 2px 4px;"></div><blockquote style="text-align: left; padding: 0px 8px; margin: 4px 0px 8px 0px; background: transparent; border: none;" cite="http://www.nytimes.com/2008/06/08/arts/music/08play.html?_r=2&adxnnl=1&oref=login&ref=arts&adxnnlx=1213024837-qS2xiBl5z+BOFHZ2uUTALQ&oref=slogin"><P> The Swedish metal band Opeth widened its sound in the mid-’90s, letting in acoustic guitars and clean vocals, and its albums since then have been careful refinements, with long, admirably coherent songs. “Watershed” (Roadrunner), the new Opeth album, broad enough to encompass death-metal pummeling as well as cello and English horn, is typically engrossing — symphonic, and in a way organic. On songs like “The Lotus Eater,” the music keeps revealing and then covering up the acoustic-folk tissue that’s under the metal skin. Then there’s the flip side of organic music: decomposition. At the end of “Burden,” a minor-key, prog-metal ballad, the band fades out to leave two acoustic guitars, playing folkish patterns in counterpoint. Then one of those guitars drops out; the remaining guitarist keeps playing his finger-picked pattern as someone else slowly detunes his guitar, for a full minute. </P></blockquote></div><div style="margin: 0px 6px 6px 4px;"><table style="font-size: 11px;border-spacing: 0px;padding: 0px;" cellpadding="0" cellspacing="0" width="100%"><tr><td style="background:transparent;border-width:0px;padding:0px;">&nbsp;</td><td align="right" style="background:transparent;border-width:0px;padding:0px;width:107px" width="107"><a href="http://clipmarks.com/share/02A8BD8C-B6B1-4A33-AA56-DAE68D348C6F/blog/" title="blog or email this clip"><img src="http://content6.clipmarks.com/images/c2b-foot.png" border="0" alt="blog it" width="107" height="17" style="border-width:0px;padding:0px;margin:0px;" /></a></td></tr></table></div></div>

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