Deliverance Blast-Beat Section — Martin Lopez (Opeth) Drum Lick | MetalForge
Learn the Deliverance Blast-Beat Section drum lick by Martin Lopez of Opeth. From Deliverance (Deliverance (2002)). The title track of Opeth's 2002 album Deliverance contains the most aggressive and technically deman...
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1. Martin Lopez's Signature Licks — The title track of Opeth's 2002 album Deliverance contains the most aggressive and technically demanding drumming Martin Lopez recorded with the band — an extended blast-beat section at around 200 BPM that exists in stark and deliberate contrast to the album's quieter twin release, Damnation. Opeth's dual-mode compositional approach, which the two albums embody most explicitly, gave Lopez the context to demonstrate the full range of his technique: the subtle, jazz-influenced dynamic playing of Damnation and the raw explosive power of Deliverance's title track blast section. That both sides of this duality are executed at the highest level by the same drummer on simultaneous releases is one of the most remarkable achievements in extreme metal drumming.
The blast-beat section in "Deliverance" is notable for several qualities that set it apart from conventional death metal blasting. Lopez's technique prioritises clarity and articulation — each kick and snare note is individually audible even at 200 BPM, which reflects his background as a technically schooled drummer rather than a purely instinctive extreme metal player. The hand pattern during the blast retains some of the ghost-note vocabulary from his jazz training, so the ride or hi-hat texture is not a uniform wash but has internal variation that makes the blast breathe rather than simply drill. This is a genuinely different approach from the opaque wall-of-sound blast that defines Norwegian black metal or Floridian death metal, and it is recognisably Martin Lopez's voice even at maximum intensity.
For drummers, the Deliverance blast section is an advanced study in physically demanding, technically clean extreme drumming. The requirements are sustained kick speed at 200 BPM with consistent articulation, the stamina to hold the section through its full duration without losing clarity, and the left-hand control to maintain a varied hi-hat or ride texture during the blast. The contrast with the song's quieter passages — which arrive before and after the blast with very little transition time — makes the dynamic management an additional challenge: Lopez has to switch from controlled progressive metal drumming to full-intensity blasting and back without physical or musical confusion. Studying this piece develops blast stamina, articulation at extreme speed, and the switching ability that defines Opeth's dual-mode writing.2. Martin Lopez Profile — Prioritise articulation — each kick and snare note must be individually audible even at 200 BPM Maintain internal variation in the hi-hat or ride during the blast rather than a uniform wash Develop stamina with burst exercises at 180 BPM before pushing toward the full 200 BPM target Switch between progressive groove and blast mode without physical confusion by drilling the transition points Keep the ghost-note instinct active during the blast to retain dynamic variation at maximum intensity
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