Blackwater Park Jazz Shuffle Groove — Martin Lopez (Opeth) Drum Lick | MetalForge
Learn the Blackwater Park Jazz Shuffle Groove drum lick by Martin Lopez of Opeth. From Blackwater Park (Blackwater Park (2001)). The title track of Opeth's landmark 2001 album Blackwater Park features one of the most unusual and ...
Gear Deep Dives & Articles
1. Martin Lopez's Signature Licks — The title track of Opeth's landmark 2001 album Blackwater Park features one of the most unusual and technically sophisticated groove choices in metal drumming: a jazz-influenced shuffle feel, applied to a progressive metal context in a way that creates a rhythmic character unique in the genre. Martin Lopez's jazz training — which he undertook seriously as a young drummer in Sweden — is nowhere more audible than in this groove, where the triplet subdivision of the ride cymbal and the swung 8th-note feel of the snare placement belong entirely to the jazz idiom, while the surrounding arrangement is unmistakably heavy metal.
The shuffle groove works in "Blackwater Park" for several interconnected reasons, all of which stem from Lopez's understanding of how jazz feel functions rhythmically. The triplet subdivision creates a sense of forward motion that differs qualitatively from 16th-note or 8th-note straight feels — it rolls forward rather than marching, pulling the listener into the beat rather than pushing them from bar to bar. This rolling quality suits Opeth's long-form compositional approach perfectly, sustaining momentum through extended passages without the relentless drive of a straight-feel metal groove. The snare placement, slightly behind the beat in the jazz manner, adds weight without aggression, so the heaviness of the arrangement comes from the guitar and bass rather than the percussion.
For drummers, learning the Blackwater Park shuffle is a lesson in applying jazz feel to a metal context — a relatively rare skill in the genre and one that immediately distinguishes a player from their peers. The technical demands involve mastering triplet subdivision on the ride at a consistent tempo, placing the snare with genuine behind-the-beat weight, and integrating a bass drum pattern that supports the groove without pulling it toward a straight-feel. The most common error is allowing the groove to firm up toward a straight 8th feel under the influence of the heavy guitar — fighting this tendency requires constant conscious awareness of the triplet grid and careful listening to the bass drum and bass guitar relationship. Lopez's recording on the album is the definitive reference for how the groove should feel, and close listening to it alongside practice is the most efficient path to internalising the genre-crossing technique.2. Martin Lopez Profile — Ride the triplet subdivision continuously to establish the shuffle feel before adding any other voices Place the snare with genuine behind-the-beat jazz weight — not late, but relaxed and unhurried Integrate the bass drum pattern to support the groove without pulling toward a straight 8th feel Resist the influence of the heavy guitar — actively maintain the triplet grid against the metal arrangement Listen for the bass drum and bass guitar relationship: they should lock to each other within the shuffle feel
Visit MetalForge →