Review by Felix on September 26, 2022.

It is the common understanding that pristine thrash metal was in a very critical condition during the (second half of) the nineties. I agree that these times were terrible years for my beloved genre. Yet it wasn't completely dead. Every now and then, a more or less old-fashioned album was released by a bunch of stubborn dudes and these works were like a journey into the glorious past. "Decibels" belonged to these outputs. Razor set an example for the endurance of thrash metal and they did it in an uncompromising way.

The first half of the album is a pure speed / thrash metal ecstasy. Razor choose the direct way. One straight bullet chases the next. One may say that variety and further development are missing. However, let us stop talking about these irrelevant features. The Canadians know the crucial success factor that determines victory or defeat. Therefore, they confront the listener with slicing riffs, slicing riffs and - you are right - slicing riffs. Incited by the whipping snare, the guitars specify the direction. They dominate the sound mercilessly, while lead vocalist Bob Reid has a hard time. As always, he stands in the shadow of his predecessor. Sheepdog was able to express that certain iota of insanity and, even more important, he had the more casual name. Nevertheless, Reid does not fall by the wayside. He has to struggle in order to leave his mark, but he does a pretty good job at the end of the day. Altogether, all systems go and Razor's engines go off without a hitch. This must be mentioned explicitly, because unfortunately, this is not a matter of course after a period of six years without new recordings. A lot of once solid bands have released comeback albums that have mutated into a catastrophe. Yet I don't want to speak about these nightmarish products. Let's keep the focus on the eighth full-length of Razor.

Three divine songs gild the first half of "Decibels". Right from the outset, the title track takes us back to the blooming period of thrash and "Jimi the Fly" follows the straight line rigorously. "The Game" lets the guitars flow freely and the result is one of the most violent sports reports I have ever heard. These songs fear no competition and they show the pride of the band in difficult times. The problem is that the group has shot all its powder after these tracks. I admit that the following songs deliver solid designs. Only "Goof Soup" tastes like a filler, while the acceptable title track of "Open Hostility" appears with the tiny delay of six years. However, the tracks of the second half do not achieve the effect of the aforementioned neckbreakers. But just when I thought that the album is coming to an end without any further killer tracks, "Violence... Gun Control" made me realise that I have to think again. It's a menacing, slow-moving reptile whose poison is dangerous, but an antidote has not yet been invented. The final track, the new recording of "Instant Death" underlines the "back to the roots" attitude of the band, unfortunately without constituting a significant additional value.

The dry production matches the raw and unaffected approach of the Canadians. Thrash without frills is the name of the game and I like it since I have listened to Slayer's debut for the first time. I therefore recommend to listen to this exciting full-length, although it is not completely flawless. It is a pity that it has been the last output of this legend so far. Anyway, "Decibels" marks a strong, energetic and authentic legacy of a continuously underrated band.

Rating: 8.1 out of 10

Review by Adam M on June 24, 2025.

This is a stellar album that has all the right elements to improve on the original album and be a highly successful album in its own right.  It is more ambitious and goes through a number of twists and turns in an interesting fashion.  The subdued elements contrast with the heavier ones in an interesting manner.  The band would never achieve this balance again in the future to quite the ambitious state they do here.

The musicianship is excellent with guitars that are forceful and powerful at times and subtle and effective at others.  This is a dynamic album and the variety found really makes it shine.  Akerfeldt’s vocals are harsh at times and other subtle to make for a nicely changing experience. 

If there is a flaw to be found it is in how this is still not the heaviest album in the band’s catalogue and lacks a bit of bite.  It would be upped by My Arms, Your Hearse and Still Life in the future in the power stakes and remains still a bit under-produced by the bands standards. 

Overall, this is a great and seminal album in the Opeth canon and one you simply need to hear.  It is revolutionary with its use of dynamics and one that is ingrained in the history of metal forever.  Fans of Orchid will be pleasantly surprised by the step up in terms of dynamics and use of heavy and light tones at different times.

Rating: 8.4/10

Review by Jack on June 30, 2001.

Many questions arose after Opeth’s second release “Morningrise”, commonly following the same thread of: “How in fuck’s name did they release a second completely spellbinding and epic adventure in progressive death/doom/black/goth metal?” There is of course no true answer, probably the best assumption to make is: “It’s Opeth, expect the best and you get the best.”

“Morningrise” 5 songs, 66 minutes of CD spinning fun. Equating to approximately 13 minutes a song. 'Black Rose Immortal', completely tips the scales in conventional song length, clocking in at 20 minutes and 14 seconds. Some may be frightened of this overly lengthy song structures that Opeth employees. Rest assured though, that not one song is in the least bit tiresome or boring. In drawing comparisons between “Orchid”, “Morningrise” features longer songs and fewer of them. Whereas “Orchid” was complete with 2 interludes, “Morningrise” did away with these short passages in favour of longer and perhaps (dare I say?) more epic compositions. Responsible for these tunes are the same team that was present on “Orchid”; Mikael Åkerfeldt, Peter Lindgren, Johan DeFarfalla and Anders Nordin.

Production values are once again high for Opeth, the album being engineered by Dan Swanö.
Opeth have gone for a noticeably more subdued and less heavy sound quality in “Morningrise”, indicative of this is the resplendent acoustic track in ‘To Bid You Farewell’, one of my highlights of the album. The album still retains the trademark Opethian sound, with staying a little more on the lighter side of metal, than what “Orchid” accomplished.

I’m going to try not to blow smoke up Opeth’s ass when describing the music of “Morningrise”, but this will remain an extremely difficult task, as I view this as one of metal’s finest releases, ever. Lyrically Opeth speak in a rather decadent, flowery poetic language that I haven’t been in contact with for a number of years. Fantasy and naturalistic elements are the norm throughout an Opeth track. “Lullaby of the crescent moon took you. Mesmerized, its kaleidoscopic face.” Courtesy of ‘Black Rose Immortal’. One of the major-drawing facets (of the many) is Opeth’s ability to complete encompass the listener within their world, to spellbind you and transport you to a different realm. This ability is sorely lacking in 99% of today’s music.
The music of “Morningrise” contains a far greater proportion of clean vocals and acoustic passages than what was present in their last outing. These more ‘accessible’ parts really help break up, what otherwise might be a stagnant, monotonous record. It is difficult to pick the best tracks from this disc (again with any of Opeth’s releases). ‘Black Rose Immortal’, however, probably gets my thumbs up, if just for the sheer diversity present throughout it’s 20 minutes. Harsh death vocals, thunderous guitar riffs one second. Transpiring a second later are melodious clean vocals entwined with lovely acoustic passages. Timeless and unbeatable.

Bottom Line: One of the best debuts ever in extreme metal circles has been easily followed up by Opeth. “Morningrise” is Opeth’s finest opus in their 5-album history. Brilliant and essential.

Rating: 10 out of 10