Has anyone else noticed different trends in the nature of Mike and Peter's guitar solos and the roles they tend to play in Opeth's music? I've found that Mike's tend to be more emotional, transitional, and varied in the number of notes played per measure (a notion I had before Mike corroborated that he considers himself more of an "emotional" 'soloist'), whereas Peter's seem more technically oriented, tend to end where they start, and more often follow the song's meter with scale-like patterns; Åkerfeldt's being usually to more cathartic effect and Lindgren's to one often more sinister. The only major exception to these inferences I immediately recall is the first solo in "When"-- one of Peter's, yet very transitional (though it does end with a lick similar to that with which it begins). But here are some examples to my notion's credit: "Wreath" 1st solo (Mike; 5:06): somewhat technical, very transitional 2nd solo (Peter; 7:57): very technical, somewhat transitional "Deliverance" 1st solo (Peter; 4:01): very technical, not transitional, plays a role similar to the sort of quick 'fill'-solos found on Morbid Angel Altars of Madness. 2nd solo (Mike; 8:15): pretty technical, hugely transitional, filled with sustained bends and other meter variance "Beneath the Mire" 1st solo (Mike; 3:08): very technical, hugely transitional, filled with quickly inserted bends and 3rd solo (Peter: 6:19): pretty technical, fairly transitional, very scale-based Recent examples, I know, but I think it took well into Opeth's discography to hear the patterns I've inferred fully emerge. While in "White Cluster" and "The Funeral Portrait" Mike's soloing is generally abbreviated-- from its well-dramatized and usually transitional purposes-- to quick alternation with Peter's, I think Lindgren's solos-- though having been also increasingly fewer and further between-- make the stylistic contrast between him and Mikael evident, especially through emphasis of the Åkerfeldt's climactic transitions. I recall past posts about the more technical arpeggio- and sweep-incorporating style of Peter's soloing, so I know I'm not alone in some of my thoughts. Has anyone else noticed such patterns in Opeth's guitar solos?