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Storm Corrosion


Price: CDN$ 12.99 & FREE Shipping on orders over CDN$ 25. Details
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Storm Corrosion + The Raven That Refused To Sing and Other Stories + Grace For Drowning
Price For All Three: CDN$ 41.46

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  • The Raven That Refused To Sing and Other Stories CDN$ 13.49

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Product Details

  • Audio CD (May 8 2012)
  • Number of Discs: 1
  • Label: Warner Music
  • ASIN: B007DJUO8O
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: #3,186 in Music (See Top 100 in Music)


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2 of 2 people found the following review helpful By Stephen Bieth TOP 50 REVIEWER on May 14 2012
Format: Audio CD
Received my copy from Amazon.UK this morning. Nice sounding CD with some great music but I don't see it as a big step forward. This CD reminds me of the acoustic sections of Opeth's last record (Heratige) and really owes a lot to the last Steven Wilson record (Grace For Drowning). That being said this is a great CD. There is no rule that says every new CD release is suppose to push the boundaries of music. Both Wilson and Akerfaldt have really pushed the boundaries of their own style of music with Opeth and Porcupine Tree but I feel they met on shared ground for this project which I am happy about. Neither have exhausted this style in their own work and I do believe they have each pulled the other into new and unexplored sounds and song structure which they have explored on their own and now are seeing what the other person can do with it. This album is definatly on the laid back side but the music is still engaging.
About the 5.1 Blu ray. This really is the way to experience this record (or any record for that fact). The music spread around in a way that you have a audio landscape. Steven Wilson is the King of the 5.1 mix so there is no suprise here as to how good it is. Surround sound really is the ultimate audio experience and this one will be getting played a lot!
If you like Robert Fripp's Soundscapes records or you are one of the privileged that have discovered Talk Talk's Spirit Of Eden or Laughing Stock you should like this!
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2 of 2 people found the following review helpful By Ron Grouch on May 13 2012
Format: Audio CD
This is definitely not what I was expecting from this duo.
I anticipated prog metal, knowing the history of these two, but this is more ambient with lots of mellotron.
There a feel of latter era Talk Talk. Some of it reminds me of early Pink Floyd (think Grantchester Meadows).

Very rewarding music if you're willing to listen and soak it all in.
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2 of 2 people found the following review helpful By David A Carlton on May 9 2012
Format: Audio CD
(Taken from my review posted to The House of Wormwood)

Whenever an album is released by Opeth or Porcupine Tree, more often than not you never concretely know what to expect until you hear the first cut from it. The main creative forces between those bands (Mikael Akerfeldt and Steve Wilson, respectively) consistently have delivered an ever-evolving and soul-enriching sound, whether it's the almost literary brutality of Ghost Reveries or the cerebral pendulum of The Incident.

Back in the autumn of 2011, Opeth released their Heritage album, which challenged their listeners, yet galvanized their hardcore fans. Shortly after, Wilson (who mixed Heritage) released his indescribably beautiful Grace for Drowning. I purchased both when they were released and I absolutely adored them. They were and are testaments to unearthly musicianship that make no apologies for beauty and take you on a remarkably cathartic journey.

Then the idea was mentioned by one of them that these were two pieces of a greater (yet unofficial) trinity. A collaboration between them, something anxiously awaited by fans of both, was under way. Even though fans were going mad with expectation (just look at the Facebook page's wall), they kept the sound deeply under wraps until they set loose the video for the first cut from it.

Now we have the rest of it.

Those who heard/watched 'Drag Ropes' will have a good idea what to expect. Storm Corrosion is dark, brooding, intellectual and atmospheric. The melodies are delicate and modest, while the moods and depth are utterly lush. The album is unlike anything I've heard and yet you can hear the strains of Opeth and Wilson's solo project within it.
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2 of 3 people found the following review helpful By Adam Hewson on May 26 2012
Format: Audio CD
This subtle yet ingenious album is best appreciated at volume 10 with headphones. Don't go in with any expectations. It's nothing like Opeth or Porcupine Tree.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 71 reviews
57 of 64 people found the following review helpful
Storm Corrosion May 8 2012
By Johan Klovsjö - Published on Amazon.com
Format: Audio CD
So, you want to read a review because you have no idea what this album sounds like, right? It's not easy to give you any help...

Lesson 1: This is NOT Opeth, and this is NOT Porcupine Tree.

It's an album mostly devoid of percussion and metal guitars. It is more on the easy and lightweight side, but with a dark secret. The melodies in themselves are simple, the instruments and vocals soft and airy (Drag Ropes a bit of an exception). But of course nothing is ever as simple as that with these mucisians. There are unexpected sounds and twists betwixt these beautiful melodies. Parts that make you go: what the ...?

The first track, Drag Ropes (9.50), had an official release on youtube, so my suggestion is that you go there and try it out. It's an eerie and beautiful, orchestral and epic piece with a great animated video. Now when I listen to the song, I always see those images in my head.

The best way I can describe the second track, Storm Corrosion (10.10), is to suggest you think of Simon & Garfunkel. This is true for the first 5-6 minutes at least. What happens then is a rising... sound... that is creepy and powerful, but that I can't really call "music" in its strictest sense. It's a difficult transition for the listener to make, but as the album progresses you understand more about the idea behind this contrast. The song finishes with a return to the original melody.

The third track, Hag (6.30), is perhaps my favourite. It rises slowly from a dark silence with soft guitar tones and piano key-strikes, accompanied by Wilson's one-word song lines. It picks up a high-pitched electric organ sound and some more guitar melodies. 4,5 minutes in there's a 45 second long guitar and drum combo that feels straight out of Opeth's Heritage album, and that is the most metal you'll hear on this record. Then the track goes back to finishing off in the same style as it opened.

Track four, Happy (4.50), again makes me think a lot of Simon & Garfunkel. But the eerie contrasts are back. And the track structure is a bit backwards. It starts with what feels like the ending, and then in the middle comes what feels like a natural start to a song. Otherwise, a soft acoustic guitar is plucking along at its strings, sometimes accompanied by an electric guitar. Interwoven with this melody are what I can best describe as distorted electric machine sounds from an evil dimension!

Lock Howl, track number five (6.10), is a relatively fast-paced instrumental diddle. I guess it makes sense to make change the beat before the closing track, which is perhaps the softest on the record. I guess this piece feels somewhat that it could belong on Heritage as well, but not entirely. The acoustic guitar melody runs along with an electric guitar tempo in the background. About halfway in, the song pauses and picks up a new beat with clapping sounds and a queer psychadelic organ sound, then almost gets quiet with some soft wind instrument. Then it starts up from the beginning again with some additional sounds.

Ljudet Innan (10.20), a Swedish title that translates to "The Sound Before", closes the album. It starts with Mikael singing softly and low, a lament from the deep. After, an electric organ rises very slowly and gets an echoing guitar string occassionally joining in. Halfway in, an electric lead guitar adds a light melody and Wilson comes in with some of his soft vocals. Not much more happens.

The album journey from start to finish is soft and strange at the same time. Here are some of the more beautiful melodies you will have heard, arranged with some of the more difficult sounds to listen to. But these contrasts are not so much "in your face", and they don't happen often, to my delight. I wouldn't want too much weirdness messing up the beauty that is in here.
At first listen it will be hard to understand, but this album grows steadily stronger with every listen. Of course, it's nothing you would turn on when it's time to party, or if you want to feel the energy pulsing in your veins. But perhaps towards the end of the night when everyone's quieting down on the couch in the dark, or when you're alone on a grey day...
It's a great album, but of course there's room for improvement.
4/5
10 of 10 people found the following review helpful
Dark, beautiful, and original June 9 2012
By D. Orosz - Published on Amazon.com
Format: Audio CD Verified Purchase
Akerfeldt and Wilson have created something here that doesn't really have any comparison. It's progressive certainly but not really rock or metal.
However, you can definitely hear both of the legendary artists' influences in every song, rather equally over the whole of the album.

The music is ambient at times and the guitar is acoustic. There's really no sense in trying to describe the album, in depth, as it really has to be listened to. Storm Corrosion, is subtly amazing.
You are going to have to listen to each song several times to fully appreciate this work of art, (like all good music).

If you're a fan of either artist, this is a must have. If only because you will be listening to something very original, both alike but also very unlike other projects these artists have done.
15 of 19 people found the following review helpful
Storm Corrosion May 10 2012
By Jose Ramon Calzada Gomez - Published on Amazon.com
Format: Audio CD
As an enthusiastic follower of both Opeth and Porcupine Tree (and their respective frontmen), I've been anxiously awaiting this album since the project was first announced a couple of years ago. Since then, both Steven and Mikael have made their rounds in the press trying to control expectations and make it clear that this album was not going to be what most fans probably expected.

There's a certain melancholy that can be felt through most of the music here. Rather than emphasizing melody or rhythm, all tracks except the first are about soundscapes, mood, and ambience. There's lots of acoustic guitar accompanied by sparse orchestration and occasional vocals. There are still many layers to the music, but they are much more subtle than those present in either Porcupine Tree's or Opeth's music.

Drag Ropes, for which a video was released not long ago, starts off the album and has been mentioned as the stand out track by several reviewers already. It's definitely the closest thing on the album to traditional Opeth/PT, while still fitting in with the mood and overall musical thematic of Storm Corrosion. There's a section in the middle driven mostly by the layered vocals of both Mikael and Steven that would probably make any Porcupine Tree fan feel right at home and is arguably the high point of the song, although the guitar solo that follows afterwards is also phenomenal.

The second track, Storm Corrosion, offers a different musical landscape driven mainly by a soft acoustic guitar and Steven's vocals. The sound effects of a storm and simple but beautiful orchestration provide most of the additional texture. There's a certain intimacy that comes from how the vocals were recorded and the melodies that is very striking and somewhat captivating. There's quite a bit more activity once the song reaches its mid-point that leads into a slow buildup of dissonance and noise reminiscent of some of the work Steven did in Insurgentes (CD & DVD).

Hag, the third cut on the album, kicks off with a very simple melody composed of just a few notes. A simple bass line accompanied by very modest percussion provides a hypnotic beat that comes in and out as the layers of sound develop. Close to the end, the track offers the only moment in the album even remotely resembling metal with some very intense drumming that has been heavily stylized and processed.

Happy, in contrast to the two previous tracks, is much more straightforward in adhering strictly to sparse instrumentation, clean vocals, and acoustic playing. There is a significant amount of activity going on in the background in the form of drones that introduce some interesting dissonance or brief glimpses of what sounds like an overdriven guitar along with various sound effects. It's a beautiful track that can be easily missed when the album is just playing in the background.

The fifth track, Lock Howl, is a much busier piece of music with a clearly identifiable beat provided by a lightly palm-muted guitar. Towards the middle, the palm-muted guitar is replaced by hand-claps as the main rhythmic device in what is one of the most memorable moments in the album. After that, we're left with another touch of dissonance in the background as the beat is slowly brought back and a new melody introduced that is soon joined by layered instrumentation.

The final number, Ljudet Innan, starts off with beautiful singing by Mikael that is quite different from anything he's ever put out with Opeth. Although still kind of abstract, this track is probably the closest the album gets to a traditional song even incorporating a simple, but fitting drum beat towards the middle. It's a beautiful closer that provides a perfect contrast with the rest of the album.

Overall, this is a strangely addicting and beautiful album, but it's definitely not an album for every occasion (or for every individual). Some have made the argument that a lot of the music here makes great background music but, while I don't disagree, I think careful listening will help in revealing the little details that make the album stand out. There's a lot to find in those dissonant notes that so effectively shift the mood of a track or the quiet drones that remain in the background to complement the sparse instrumentation on top.

It's fair to say that my expectations for this album were impossibly high. Having loved Steven's Grace for Drowning, but being a bit disappointed by Opeth's Heritage; I was unsure of whether the end result would resonate with me as I hoped it would. I can't say that it completely blew away my expectations, but it consistently met them and, in this case, that's quite a bit of praise.
5 of 5 people found the following review helpful
A beautiful work Jan. 28 2013
By D. Haley - Published on Amazon.com
Verified Purchase
If you are a fan of ever changing, new, and different music by the same artist(s), then Storm Corrosion is for you. If you want the same sound, it is not. I absolutely love this release and listen to it frequently. It is like nothing Steven or Mikael have ever done while still retaining a sliver of their respective styles.

I hope they return in the future with another collaboration.
19 of 25 people found the following review helpful
A Momentous Meeting of Minds May 8 2012
By J. Hill - Published on Amazon.com
Format: Audio CD
Storm Corrosion, the collaboration between Mikael Akerfeldt of Opeth and Steven Wilson of Porcupine Tree, offers some intriguing, unpredictable journeys into what I would describe as mood music. A few words that occur to me while listening are dreamlike, lush, serene, hypnotic, mellow, haunting, ethereal, exotic, and, at times, dark. Beautiful acoustic work and captivating ambient passages intertwine for some entrancing zone-out music; it's easy to get lost in the soft, poignant melodies of each song. For me, it took a few listens to really absorb the multiple layers of sound and appreciate how it all flows together. I listened to the first track Drag Ropes once and thought it was ok, then I listened to it a second time and thought it was pretty great. By the third time, I loved it, and the rest of the album had much the same effect. Now I have to hear it every day, sometimes more than once.

The CD's six songs alternate between strange, surreal ambience and delicate, melancholic folk. There's a stark contrast from dark to light between the first two songs, Drag Ropes and the album's title track. Drag Ropes is at times nightmarish, especially coupled with the Tim Burton-esque video released for it, while Storm Corrosion is a beautiful track, its haunting acoustic reminiscent of Opeth's Orchid (or even Led Zeppelin or early Black Sabbath). The tone shifts back into darkness with Hag's rhythmic pulse and odd section of semi-heavy guitars and the album's only spurt of drumming. Then, Happy mixes the strangely warped acoustic sound of Watershed with lighter, Still Life melodies akin to songs like The Moor or Benighted. After this, it's back into more trippy territory with Lock Howl, a brilliant instrumental that I wish was at least twice as long as it is. Ljudet Innan closes soft and serene, with some of Mikael's most ambitious vocals to date in the opening minutes. My only complaint is that this album isn't longer, the six songs clocking in at close to 48 minutes. I would've gladly taken a couple more ten-minute tracks. If you get the special edition, it has instrumental versions of all the songs, but I just can't seem to get enough of this music. Great stuff by Mikael and Steven.

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