OPETH

Opeth is back with the death vocals. Mikael wanted to make a heavier album with a new drummer from an extreme metal scene. The songs have no title but numbers or paragraphs in a testament. The booklet is simply a page of a testament with some poetry written. The story is centered around a father's will that reveals the secrets of his life. If I have heard some voices in the back of my head in this album, it's not because I am crazy but because I was listening to the Blu-Ray in Surround (Atmos). I heard some menacing voices from the right and the left that sounded like they were taken from a movie, such as the voice of a devil entity, a monster, or a killer... The music of Opeth's album goes into different moods in 1 song. After some heavy guitar parts, the keyboards and piano calm things down. The music is at times brutal, disturbing, and strange but tempered with calmer passages of harp, flute, and classical tones. And Mikael shows in the 5th track his love for Middle Eastern music. In the 6th song we have such a cool keyboard solo that you wish it had lasted longer. There are also some unusual arrangements in a couple of songs when we hear clapping hands; you can see this in the 50-minute documentary.

The result is a complex and intense album with no breather until the end, with its peaceful atmosphere that reminds of Steve Wilson's song "The Raven that Refused to Sing." This is a heavier album compared to their recent releases but not compared to their first releases. It's Opeth but in a different atmosphere. One thing is sure: you can feel the emotion that Mikael had while writing this album. He says himself, "I was in a trance," and "I only make music that excites me." Yes, this is an exciting album.

I doubt I'll ever be able to write a proper review of this album as, although I own all the so called 'Newpeth' albums, nothing really connects with me much. Most modern prog stuff I can get a handle on but I struggle with this lot. I don't hear any real dynamics in the music and the typical death metal aesthetic is well up front in their music and that is just not my scene. The middle part of the album is okay , but it's just okay. There is a nice bit of fleeing flute from Ian Anderson and a keyboard solo livens it up for a brief moment but it's nowhere near enough. I don't doubt that Akerfeldt is a massive talent but it was probably time for him to fly the coup many moons ago. Difficult though when you have a money making machine and there aren't that many in prog rock nowadays.

Not a big Opeth fan: lots of good musical ideas, but often too drawn out (especially the mellow parts). I'm neutral on the growls, but I don't like when they are extended over multiple measures and overshadow the interesting musicianship. As a punchy contrast, growls can be awesome. I honestly have not heard an Opeth album that really grabbed me, as much as I wanted them to, so I only bought this one because of the strong reviews. Prelude over.

THIS ALBUM IS AMAZING.

Concepts albums are creative feats, but it's often about the verbal explanation. This is an exceptional concept album in that you just have to open the digipak, look at the "will" that unfolds, and then immediately map that to the structure of the album. Truly genius, in my humble opinion. The music fits amazingly to the vortex of emotions that involve end of life issues, legacies, and family feuds. I don't know what I'm being told to think about the concept, but I can feel it, and then can map it out to real situations I have dealt with in life. Having laid that foundation in the concept, if the music is legit, then any of us can get lost in it when the music begins.

And the music takes the concept to another (times 10) level. The creativity, the musicianship, the attention to detail...it's astounding, and I simply can't get enough. I'm not a sound guy from a production standpoint, but I really can't believe how awesome this album sounds. Total clarity, no obvious fade ins/outs, the ability to hear every input, regardless of how many there might be at any given point. Then I consider the composition, and the rapidity of musical ideas, often kickstarted a measure or two before you might even expect a transition, and I'm in awe of the ambition and the execution.

And then there's the musicianship. I have not followed most of the guys on this album, but it's clear that they are some of the best out there. The drummer lays down some grooves that are so funky that I don't even want to think about what my face looks like when I hear it. The guitar is so languid, and perfectly layered in places, that it's hard to believe that quality is even achievable. And then, when you think you've got this death metal band tinkering with prog figured out, a synth/key will come in and just blow my mind--it's never a solo, either, which is a common form of wankery in prog, but instead a sonic assault to shake you out of your doldrums and prepare you for the coming guitar and vocal CRUNCH. I can't imagine counting the number of chord changes on this album, as sometimes things are changing from measure to measure. Truly a bottom-up listening experience!

I imagine the primary criticism of this will be about the clarity of the influences. We all know when Haken is doing Dream Theater, or when Neal Morse is doing Gentle Giant. I don't get those types of direct links in this album. Instead, I'm lost in the creativity, but I'm then periodically pulled out of my immersion thinking: that sounds like Focus, that sounds like Symphony X, that sounds like Leprous, that sounds like Anglagaard (side note: if one had the goal of taking the Anglagaard style and tweaking it to my liking, mission accomplished), and many, many more. I suppose I liken this to being served a new dish, and although you can compare it to other incredible meals you've had before, you know that, although you're limited to your previous languages and experiences, this new adventure is altogether novel and cannot be defined by those boundary conditions.

Perhaps my best experience of buying an album with limited expectations, opening and perusing the packaging, and then simply being hooked by the music within.

'Morningrise' is the second studio album by progressive death metal legends Opeth, released in 1996 on Candlelight. Composed of just five lengthy tracks, all of which surpass the ten-minute mark, this is practically an overlong blackened death metal album with a bunch of acoustic passages, as the whole album generally relies on the counterbalance between these mellow, melancholic passages, and the heavy, fast-paced death metal riffing with growling vocals. Much in line with the rest of the Swedish band's early work, this release is very rough and with a slightly muddy production. Heaps of ideas are thrown into these overlong compositions, similar to much of death metal from that decade, most of which never really lead to anything too exciting or innovative.

And while this album can be seen as an improvement over 'Orchid', it is still a mostly bleak (and occasionally blunt) death metal album, with the production values of a typical record of the genre. Mikael's vocals do stand out together with some occasional fine riffs, just like the anticipation of what would become 'Demon of the Fall' (on the following album) at the end of 'Nectar', but most of the compositions on 'Morningrise' are directionless, a far cry from the excellent songwriting displayed on future releases of Opeth. The length of the album is hardly justifiable with its contents and substance; there are decent moments here and there, but at the end of the day, these songs are mostly full of unrelated ideas and lack the exciting movement of a progressive album. Perhaps a highlight of the album is the 20-minute epic 'Black Rose Immortal', a track containing fine heavy moments, and generally favorable transitions between the sections. Yet 'Morningrise' remains a laborious and mostly unsatisfying listen.

Under normal circumstances, I wouldn't be hyped for a new Opeth album. Sure, I was already a fan of the band back then, and I would of still check it out when it comes out, but if you were to tell me in say 2022 or 2023 that Opeth was making a new album, I wouldn't really mind. This, on the other hand, had me constantly refreshing YouTube throughout all my breaks in between classes to see if it was uploaded early. I had incredibly high expectations for this album, especially seeing two certain special guests that I'll get to soon, and also the fact that this was the first Opeth album with actual Death Growls in over a decade. And I was not let down in the slightest. Not only did The Last Will and Testament exceed my expectations, it blew them out of the water. For my money, this record stands next to Blackwater Park, Still Life, and Ghost Reveries. The perfect mix between complex progressive rock, gloomy death metal, and somber electric ballads made such an incredible listening experience for me, and the overall production and sound quality are top notch. After all these years, Michael Åkerfeldt's voice is still one of the greatest in his musical field, and he masterly pulls off both clean and growling vocals. For the whole personnel, it includes Michael Åkerfeldt on vocals and guitar, Fredrik Åkesson also on guitar, Martin Mendez on bass, Waltteri Vayrynen on drums and percussion, and Joakim Svalberg on keyboards. As for the special guests, Mirjam Åkerfeldt and Joey Tempest appear as backing vocalists, while the one and only genius behind Jethro Tull, Ian Anderson, appears on flute, backing vocals, and spoken word. Apart from Ian, the other important guest I would like to mention is Dave Stewart, who has helped write music for Egg and has written substantial and excellent material for Hatfield and the North and National Health in the past. As for the concept behind the record, it's about a wealthy post-World War II patriarch who dies and leaves his will to his daughter, revealing unknown secrets about the family in doing so. Originally, it was hard for me to find the real meaning (I couldn't really understand some of the vocals, and I didn't want it spoiled through reading the Wikipedia page or going through interviews), but after repeated listens, I found the true concept.

The album opens with the echoing footsteps in the background of §1 (Section 1), a series of six other songs of similar titles that would continue throughout the album. The emptiness within the music is broken by a sudden hauntingly coherent yet uncanny beat, with a burst of crushing guitar flowing into the song. When Michael starts to sing, he once again proves that he is, and will always be, one of the top death growlers to ever live. Normally I'm not really into death metal, but Opeth is such a good band, and there is something so outstanding about Michael's performance. You can feel absolute horror and perfection within the now ever-changing song structure, with it displaying passion, distress, and fear all in one song. In true Opeth fashion, they play this gruelingly incredible music for a couple minutes before making a complete stop and transition into a lush orchestral performance. This section continues until the songs end. It is evident that this album will be nothing like what the band has been putting out for the past decade, and I believe §1 will go down as one of Opeth's best album openers.

§2 continues the orchestral sound from §1 into the opening before immediately jumping back into the death metal aspects. This one is a bit more on the death metal side of the scale than the progressive death metal side, but it's still full of weaving progressive elements. I would also like to mention that the band has these incredible dynamics between growls and clean vocals, making it just the right amount of regular singing for a normal progressive rock enjoyer. The next section is where the one and only Ian Anderson steps in to narrate the story. Another note I would like to add is that I think the band made a genius choice to get Ian on this album, not only because he's a big star within the community but also because his vocal style fits perfectly for the post-World War I era. Moving on, the band goes through some more chilling sequences of dynamics and a second Ian Anderson narration bit, with the keyboards and mellotron adding a lot to the overall feel. This wraps up §2, proving yet again that this will be an incredible landmark for the band.

The next track on the record, §3, is the shortest song on the album and the first with only clean vocals. It opens with a groove that I found similar to The Leper Affinity, but without the death growls, and it includes a couple of breakouts within this area. Because of the death aspects of the song being released, the overall progressive material has a lot more room to breathe. It flows into technical playing and strange tempos and time signatures as Michael provides an incredible deep voice in the background. The song keeps on evolving into entirely new songs within a couple of seconds of every one of these smaller compositions, making it a true staple of the progressive rock and progressive metal subgenre. The song doesn't fade out into quiet measures however, and dies at the peak of this experimentation.

§4 opens with a heavy and jazzy beat that returns some of the death metal styles and much more gloomy music that continues at a progressive pace, completely changing everything in the song in a matter of seconds, and landing at a short yet sweet folk section that easily glides into a new rhythm that sounds similar to early Jethro Tull. This Jethro Tull feel is also helped out by the flute by Ian in this song. It gradually rises, adding more death growls over time and getting heavier and louder. It grows until it reaches a full climax and immediately dies out into silence. This one goes by a little faster than I thought, despite it being seven minutes. This also brings up the one problem I have with this album. The reintroduction of the death growls into the band just makes their music sort of blend together. If a track isn't a major standout to me, it just sounds kind of bland.

Moving on, §5 begins with a lovely orchestral piece that gets interrupted by a bombastic drum blast that evolves into sheer progressive expanse. I also must add that this song perhaps has the most impressive drum technicality in the entire album. The vocals make the song feel even more decrepit and old and masterfully captivate the listener in the story with this feeling. The band continues this jam session vibe of the song until ramping up the intensity and returning to the darkness of older themes on this record. This bleeds into an almost ambient feel, with Michael's singing turning more echoey and distorted. The instrumental bits after this are absolutely insane and chaotic, culminating in a gloomy, clean vocal area that roughly continues until the end of the song but with continuing dynamics in the singing style.

§6's opening is similar to Molotov 1502 before being blown away by another rapid fire drum sequence. The next thing that comes can be described as vocal jazz combined with progressive metal; that actually somehow makes a good combination. Opeth turns to the more death metal aspects pretty quickly after this however and engages in performing some material similar to some of the earlier days in the between Still Life and Watershed. The guitar solo also sounds like something from the 80s with its sound and speed within the notes, which could be both a good thing and a bad thing depending on who you talk to, but I generally think it's a cool one. This extends to the end of the song, with it closing out with a soft and mellow riff accompanied by a lush noise in the background.

The last one of the paragraph songs is §7, which opens again with a drum part that is followed by the rest of the band joining in. This song is more of a slow burner when it comes to growing into Opeth's traditional death metal sound, but it's still an enjoyment. Ian Anderson returns to narrating in this song again, with the low piano adding even more of a touch to his low and old voice. The guitars in the next section where they kick back into the heavier material sound similar to John Petrucci, and to me, it sounds like something they'd do around 1999 to 2005. I must add that the keyboard solo is lackluster, though. The heavier stuff in this piece of the song, though, is more calm, complex, and slow, while still retaining the whole metal concept. Apart from Michael interrupting the song with a chorus of what sounds like only his voice, that pretty much concludes the song.

The album closes with the much more somber song A Story Never Told. It begins with a melodic and twisted guitar riff that sounds almost nothing like anything on the album. A short break through with the rest of the band is followed by a soothing piano number and Michael's absolutely beautiful, clean vocals. The band goes back into playing all together again, only briefly interrupted by more piano work. The guitar solo at the end though is just perfect and really embodies all this emotional power that has been building in small crevices around the album. The guitar solo continues until a slow fade out that wraps the album up perfectly and concludes another masterpiece by Opeth.

In conclusion, this album is a technically heavy and progressive masterpiece. After a string of 3-4/5 albums, Opeth is back to making some of the greatest in the genre. As much as I love the new Alphataurus album, without a doubt I can say this is the best record of 2024. From it's high progressive nature, returning death metal styles, and the gorgeous crescendo that is A Story Never Told, this is tied with Blackwater Park as my favorite Opeth album and will most likely go down in the genre's history as one of the greatest progressive death metal albums out there. This is an absolute beast of an album that deserves a 5/5 in every way.

Opeth is a band that really needs no introduction, so I'll try to keep this brief. They're one of the giants of progressive metal with some of the best albums ever in that genre. Their run from 1996-2008 is nigh unimpeachable.

But ever since Mikael Åkerfeldt decided to move the band away from metal with their 2011 record Heritage, I've been less taken with their music. None of the albums since then have been bad, but they've all just kinda lacked that ineffable spark that makes a truly great record. It's been a lot of decent, fairly heavy retro-prog, but Opeth doesn't really stand out from the field in that particular style. There's even a difference between their recent stretch of records and 2003's Damnation, their first foray into non-metal. Damnation feels much more like classic Opeth than, say, Sorceress. Damnation's contemplative folkiness suits Mikael's voice and songwriting better than his recent attempts at drawing from acts like Uriah Heep and Jethro Tull (or at least Tull's heavier stuff).

The Last Will and Testament, Opeth's fourteenth full-length album, sees the band return to something closer to their classic mid-aughts sound, making this their strongest release in a while. The album tells the story of a wealthy family and their sordid secrets in the form of the reading of the recently-passed patriarch's will. Seven of the eight songs on this record are titled "§1-7".

"§1" has a tense and foreboding opening that wouldn't feel out of place on a song by Åkerfeldt's BFF Steven Wilson. When the verse starts, it's refreshing to hear Mikael growl again, and the increased weight and muscularity of this music is a major improvement over recent efforts. Eerie Mellotron and dashes of jazzy electric piano provide good textural contrasts. 

A sweet string arrangement closes out "§1" before launching into the storming opening of "§2". The organ tone in quieter moments calls to mind Zabriskie Point-era Pink Floyd, providing yet more solid sonic variation to the death metal passages that surround them. Narration of the titular will is sprinkled in. It's part of the story, I understand, but it can still be somewhat distracting. Thankfully, it intrudes relatively infrequently.

"§3" kicks off with a complex and flashy bit of riffage and a bit of jazz flavor. When the verse finally emerges, the rhythm is groovy and rolling. The strings can border on overbearing at moments, but the underlying strength of the composition carries this piece past that distraction.

Jittery bass and a slinky, Middle Eastern-tinged guitar line give "§4" one of the more unique openings on this album. That said, it's also one of the passages that most reminds me of some of their more recent and unimpressive work, especially on Sorceress. About halfway through this song, though, there's a lovely flute solo played by Ian Anderson of Jethro Tull. (Upon looking into it, he also provides the spoken narration on four songs.) "§4" ends pretty strong, with Opeth's heavy and creepy elements trading the spotlight in ways that complement each other.

Things are relatively quiet, though taut, in "§5"'s first moment. Twangy acoustic guitar and angelic backing vocals lend this a unique character within the context of the album. The buildup to this song's metallic section is gradual and natural, and I feel the need to reiterate just how good it is to hear Åkerfeldt's growls in new music. The band incorporates some spooky synth flourishes, and the string arrangements?though again quite forward?feel more appropriately prominent.

"§6" fades in on a slow, growling organ pattern just before high-energy drums give this song an abrupt injection of pep. I really like the contrast of the speedy drumming and more deliberate organ and guitar in these opening moments. The rest of the band eventually catches up, and synthesizer and guitar both get their chance to shine with a pair of flashy solos. An extended quiet section closes things out, and it features some Gilmourian jazz noodling that really helps cool things off.

The will itself (though not the album) ends with "§7". There's an immediate sense of dread in its first seconds. Sparse verses, featuring both flute and narration from Ian Anderson, shifts into what might be my favorite passage on the whole record. A downward synth pattern almost sounds like a siren, adding to the weight of it all. This really feels like a fitting climax to such an important document.

Closing things out is "A Story Never Told". Airy clean guitar turns into a Camel-esque bit of mellow prog (again featuring Ian Anderson's flute). This is the sort of non-metal Opeth excels at. It's contemplative, folky, and melodic. Their attempts at heavier prog on recent releases always felt a little underbaked. They seem all-or-nothing in their musical heaviness.

I went into The Last Will and Testament blind, having purposely avoided the pre-release singles. I also went in somewhat skeptical, based on Opeth's recent track record. I will say I'm pretty happy overall. I wouldn't put this on the same tier as Still Life or Ghost Reveries, but it's an enjoyable return to form for one of the most important modern metal bands.

Review originally posted here: theeliteextremophile.com/2024/11/25/album-review-opeth-the-last-will-and-testament/

Opeth's newest release, The Last Will and Testament, ushers listeners into a sonic landscape that blends their death metal roots with their progressive evolution. Released on November 22, 2024, this concept album weaves a narrative set in the post-World War I era, focusing on a wealthy patriarch's last will and testament, filled with shocking family secrets.

The album's structure is uniquely designed, with tracks titled as sections of a legal document (e.g., §1, §2). This thematic choice enhances the storytelling, immersing listeners in the unfolding drama. Musically, Opeth delivers a blend of heavy, riff-laden tracks and intricate, melodic passages, showcasing their technical prowess and emotional depth.

Standout tracks include "§1 (The Reading)", where Mikael Åkerfeldt's vocals transition from haunting cleans to ferocious growls, setting the tone for the album. "§4 (The Heir)" features guest vocals by Joey Tempest of Europe, adding a unique flavor to the mix. The collaboration with Jethro Tull's Ian Anderson on "§7 (The Revelation)" brings a touch of folk with his flute and spoken word sections, enhancing the album's eclectic nature.

The production quality is top-notch, with every instrument clearly articulated yet cohesively blended. The guitars, played by Åkerfeldt and Fredrik Åkesson, are both crushing and melodic, while Martín Méndez's bass lines add a rich depth to the overall sound. The drumming by Martin Axenrot is precise and dynamic, driving the complex rhythms forward.

Lyrically, The Last Will and Testament explores themes of legacy, betrayal, and the consequences of hidden truths. The narrative is compelling, with each song revealing another piece of the puzzle, keeping listeners engaged from start to finish.

In summary, Opeth's The Last Will and Testament is a tour de force that balances their death metal intensity with progressive sophistication. It's an album that will undoubtedly stand the test of time, cementing Opeth's legacy as masters of their craft.

OPETH is a snub to the old progs who shouted at me at the beginning that it wasn't prog because it shouted... And then with time, they praised this group, turning their cutie! So when I heard for some time that it was growling again in the last one, I concocted an intense sequence to listen to it seriously on repeat!! Note that we are on a concept album listing a testament, so no titles just chapters.

1. §1 a clock time is running out, an old dated sound, a growl voice yes we were warned and it will thumb its nose at the progs who didn't like Opeth before, and who had been praising it for 3 or 4 albums; a tune that smells good however of Gentle Giant for the instrumental parts, the growl being soft, contained, the high choirs much more incisive; the symphonic finale to cast even more doubt, I love it, it's Opeth! 2. §2 continues, grandiloquent air, like a Mr Bungle bazaar, hilarious, festive on the circus; the growl that was the prerogative of the group comes back at a gallop, the pads and the riff are played at a gallop; it dies out, jazzy- bluesy air on the Albionesque nursery rhyme, well aren't they Swedish, the buggers? In short, surprise every minute or almost with a superb guitar solo 3. §3 continues, instrumental in the spearhead, a little orientalized; the low choirs come to give enthusiasm on a syncopated air, the Balkan violin imprinting the progressive fusion spirit that suits them well; the mix between the hard typed of yesteryear and the lively bass bordering on disco makes the sound diverse and captivating, on the edge of musical fury, controlled but evil; the cinematic outro with choirs a time just before the apocalypse in this soft non-growled title 4. §4 returns to basics, it's extreme tech prog metal as announced; noise and the Japanese, Achillean break that kills; we think of KITAJIMA, VOLLENWEIDER for these refined, crystalline notes; the pad and the keyboard continue to amaze with a jazzy air with a flute, hold on that of JETHRO TULL passing by; the wave rises and explodes growly-belching, I guess the fright of prog friends. Another ambient break sows doubt again for sharp ears before the heavy fruity experimental finale; a little wind and

5. §5 arrives, like the symphony that resembles it; Mikael speaks there and takes us on a mid-tempo title until the associated growly surge; a deep voice to take as an instrument under penalty of panicking before this musical maelstrom; it tinkers with a phrased voice and its assumed oriental air; wild guitar solo before the orchestral return, the folk-jazzy air worthy of a Zappa before the strong finale then in decrescendo bringing a tortured organ of time on 6. §6 which could be suitable on a Deep Purple, a symphonic Black Sabbath and the zen, ambient, atmospheric, progressive rise; vocal placed on the left, poof not long the growl returns at triple gallop; twirling synth halfway followed by a guitar, the voice settles, becomes musical; final break with the aerial guitar that stands out, the keyboard of time even more, the piano notes launched at the end even more 7. §7 frantic riff, progressive start, undergone break with opera vocal, spoken voice, one would think oneself in the lair of the extreme prog mountain, the one from which animal cries come out; here it is the cry, here it is the classical choir, this piece bewitches or captivates or both; the guitar at one time jazzy, at another time bluesy, the bass all the time heavy, heavy and heavy hard; one begins to get used to this ultimate sound when the bass strikes a metronomic pompous air that will rise again and again, the cinematic air in fashion since the new decade 8. A Story Never Told with the soft, ethereal crystalline guitar, I check yes it is indeed Opeth again on a title named there; flute, piano and syrupy voice for the ageless aerial ballad; a sweetness to clean the ears of those who do not know the true blood of OPETH surely. A beautiful guitar solo all in color comes to shine the cover.

A slap at the end of this year which demonstrates that prog does not belong to the 70s or the 80s but to Opeth, that's written!! (4;75)

Few bands have so drastically transformed the canon of progressive music as Opeth has. Since the '90s, the Swedes have delivered work after work, perfecting their craft while navigating the vast influences that Mikael Åkerfeldt treasures as a devoted music aficionado and tireless innovator. With The Last Will and Testament, we are met with a fully bloomed Opeth?one that, after journeying through the majestic sounds of '70s progressive rock and the brutality of melodic death metal, manages to marry the best of both worlds in an indulgent, abundant masterpiece capable of reconciling their vast and divided fanbase.

Comparisons to Watershed (2008) are inevitable due to the album's intricate complexity, the heavy use of synthesizers, and the triumphant return of Mikael's growling vocals, which have never sounded better. The album's aesthetic, steeped in the 1920s, and its frosty sonic textures demonstrate the band's continued willingness to explore the elegant style first hinted at in In Cauda Venenum (2019). However, this record distances itself from its predecessor with a crisper production that amplifies every section and achieves a more balanced mix.

Yet, all comparisons pale in the face of this album's unpredictability. It traverses a vast range of emotions and tonalities befitting its theme: the melodramatic reading of a patriarch's will, filled with twisted mysteries and sinister plot twists. And who better to guide us through these calamities than Ian Anderson? His vocal and instrumental contributions infuse the album with the progressive spark that lights our way through each paragraph of the testament (§). His flute solo on "§4" is an eclectic moment of madness that contrasts sharply with the solemnity he brings to "A Story Never Told," the album's poignant finale.

Tracks like "§2" and "§5" keep us perpetually off balance with extreme and contrasting passages that perfectly illustrate Opeth's dual nature. From captivating melodies of solemn beauty to the most tense gatherings of diminished chords, the album encompasses acoustic instrumentals, clapping hands (olé!), and synthesizer solos. Joakim Svalberg shines throughout the record, wielding a palette of analog keyboards?Mellotrons, Hammond organs, and more?to craft dense and enveloping atmospheres like a shadowy architect.

The rhythmic duo of Waltteri and Méndez delivers aggressive grooves that elevate the album to another plane with unexpected syncopations, subtle ghost notes, and bass counter-melodies as beautiful as the primary motifs. Both "§1" and "§4" are fundamentally built on their work, generating hypnotic rhythms where bass and kick drum provide a tightly controlled foundation of tension and precision.

Euphoria will wash over fans as they hear the bombastic riffs and visceral growls in tracks like "§2" and "§7." These extreme passages intertwine with baroque sections, jazzy interludes, and moments of acoustic introspection, resulting in a rich, multifaceted musical experience. Every sonic choice breathes life into the vivid images Åkerfeldt envisioned for this musical narrative. The outcome is a wholly synesthetic, cinematic experience.

"§1" introduces all the elements that make this album an instant classic: supersonic grooves, Méndez's profound and contemplative basslines, and Åkesson's evocative guitar work, a wizard of melody. Major chords rising from the shadows establish the album's chiaroscuro tone, paired with the fervent chorus proclaiming, "The last will and testament of father." The echo of the growls?after 16 long years?is etched into memory as a moment of pure joy for Opeth's fans. The string arrangement closing the track is simply breathtaking, a testament to the meticulous detail poured into this masterpiece. Conceptually, the song serves as a framing device for the story, setting the stage in the patriarch's eerie mansion where the intricate narrative unfolds.

"§2" begins brutally, allowing no time to breathe, accompanied by stunning poetry narrating the daughter's tale:

"A child in the night Cursed to survive Love like quicksand And deflowered maid in tow."

The lyrics stand out for their carefully crafted metrics and storytelling, recalling gems like "White Cluster" (1999). A dark melody materializes among the strings, introducing the lawyer (Ian Anderson) who reads the father's confessions?sins that will decisively shape the inheritance and the fate of his descendants. The song weaves between extreme guitars and Mellotrons that complement each other to form atmospheres steeped in malevolence, with Joey Tempest's arena- rock choirs adding a theatrical flair. Amid the misery, an acoustic and synthesizer interlude opens a quasi-psychedelic section reminiscent of The Beatles. Mikael bids farewell with a beautiful refrain, "There is a rising tide of sorrow," marking the 26th instance of the word "sorrow" in Opeth's discography?because why break the tradition?

The third paragraph ("§3") tells the story of the patriarch's polio-stricken daughter. Classy violin arrangements perfectly evoke the postwar era, marked by disease and upheaval. Mikael's vocal acrobatics are spine-chilling, with lines like, "Matrimonial locks, skeleton key," delivering some of the album's most iconic moments. Here, the most astounding atmospheric shifts unfold, and Mikael even takes time to tune his guitar between D and E standard during live performances. Abrasive Middle Eastern melodies and the baroque introduction elevate this track as an exemplar of the album's superior balance and versatility.

"§4" mesmerizes from its opening Mellotron-infused oriental riffs, gliding atop a liquid, modern groove. Mikael's vocals traverse styles, culminating in operatic choruses reminiscent of Freddie Mercury. Harp melodies infuse solemnity, underscoring the patriarch's revelation that the twins are not his sons after all. What follows is an incredible diminished E riff intertwined with Anderson's flute, painting a soundscape that is nothing short of masterful. Åkesson's solo is intentional and melodic, seamlessly blending with the composition. The track concludes with an extended hypnotic riff filled with diminished chords, syncopation, and double bass?a quintessential Opeth moment.

The album's orchestral malevolence continues into "§5," a monster of a track that opens with an energetic acoustic riff seamlessly transitioning into metallic grandeur. Growls emerge and recede amidst frantic transitions and jazzy guitar tinges reminiscent of "Häxprocess" (2011). Synthesizers and pads take the forefront here, massive Mellotrons swallowing the mix in a dramatic homage to Åkerfeldt's '70s influences like Queen and Gentle Giant. The tension reaches a peak as the twins, in despair, confront the presence of the legitimate heiress.

Joakim takes the spotlight on "§6." Its opening, with an epic melody and a hopeful Dm-F-G progression over an unstoppable groove, stands out as one of the album's rare "happy" moments?a welcome respite from the nocturnal miasma. Midway, brutal riffs harken back to Blackwater Park (2001), while a Mellotron choir underscores Åkerfeldt's admiration for Änglagård. A Dream Theater-esque synthesizer solo defies all expectations, culminating in a bipolar melody that oscillates between epic, sublime, and sinister, only to end softly with Gilmour-like acoustic picking.

"§7" enthralls with its deadly beauty, replete with oriental melodies and sheer brutality. Anderson narrates the patriarch's philanthropic gifts?purely sentimental family relics. The track incorporates guttural depth, complex solos, and jazz-infused keyboards, evoking hints of Riverside. Strings accentuate the climax, delivering a slow, painful, contemplative finale.

Finally, the sublime beauty of "A Story Never Told" is simply breathtaking. Without spoiling, it invites listeners to experience this magnificent track, reminiscent of "Isolation Years" (2005) or "Lovelorn Crime" (2019). A melody both familiar and liberating shatters the oppressive atmosphere of the desolate mansion, representing a break from all façades. Its concluding solo is destined for posterity, crowning a ballad that ranks among the finest in the band's 30- year career.

Like the best films, this album concludes with an incredible plot twist, grandeur, and a clear, relatable message: blood is not always thicker than water. Every detail is executed with meticulous thought, inspired by Succession, yet only Mikael could convey such tragedy through music. Challenging but deeply rewarding, The Last Will and Testament showcases Opeth at the peak of their creativity, balancing their dualities with operatic drama and signature flair.

Guest contributions elevate the album further: Joey Tempest (Europe) on choirs in "§2"; Ian Anderson (Jethro Tull), whose voice and flute add new dimensions; and Dave Stewart (Canterbury scene), whose string arrangements provide an additional layer of sophistication. The revitalization of the band, attributed partly to Waltteri's unmatched chops and death metal roots, is palpable. The return of growls feels perfectly integrated into the album's refined style.

To be clear, every Opeth album since Heritage (2011) is excellent, each contributing elements to this magnum opus. Åkerfeldt and company have consistently followed their hearts, evolving with unparalleled artistic integrity. Growls and death metal neither make nor break Opeth. This album transcends such debates.

In conclusion, The Last Will and Testament is Opeth's finest work in 15 years?a living relic that encapsulates the mastery of one of the most significant bands in progressive music history.

Opeth's Masterpiece in One Record

Opeth's The Last Will and Testament masterfully balances the band's death metal roots with the progressive sophistication developed over two decades.

The return of Mikael Åkerfeldt's growled vocals is a standout feature. Having been absent since 2008's Watershed, they return with commanding force, infusing raw intensity into tracks like "Eulogy for the Damned" and "Inheritance in Ashes."

I first encountered Opeth through Blackwater Park. Though it didn't initially resonate as I'd hoped, its depth grew on me over time. Later, Heritage captivated me with what I now consider one of the best progressive records I've ever heard?a perfect blend of heaviness, obscurity, and pastoral beauty. That album became my true gateway into Opeth's music. Today, I'm a devoted fan of much of their discography, with Still Life, Watershed, and Pale Communion as my top three favorites.

The Last Will and Testament presents a dark, post-World War I tale of betrayal and existential reckoning, with a cohesive narrative that amplifies its emotional weight. Each track unfolds like a chapter, exploring themes of identity, loss, and legacy. The lyrics are both enigmatic and evocative, encouraging a deeper emotional and intellectual connection.

Musically, the album is intricate and immersive, with Åkerfeldt's guitar work as a highlight. The riffs flow seamlessly between crushing heaviness and introspective delicacy, creating a masterful balance of tension and release. These ferocious moments blend with expansive melodic passages and atmospheric textures, showcasing the evolution of Opeth's recent sound. Guest contributions, such as Ian Anderson's flute on (§4, §7, A Story Never Told), spoken word (§1, §2, §4, and §7) and Joey Tempest's backing vocals (§2) add richness without overshadowing the band's identity.

Opeth's command of dynamics, effortlessly transitioning from serene acoustic interludes to thunderous crescendos. The production is impeccable, ensuring clarity while maintaining a cohesive and expansive atmosphere.

What sets The Last Will and Testament apart is its ability to resonate with fans across all eras of Opeth. Brutal yet melodic, intricate yet accessible, nostalgic yet forward-thinking?it synthesizes elements from their entire discography while presenting a fresh, independent vision.

For me, this album represents Opeth's finest achievement since Still Life. It captures the complexity of Pale Communion, the raw intensity of Watershed, and the timelessness of their earlier works, all within a single record.

The Last Will and Testament weaves together complex musicality and profound emotional weight. Polished with the maturity of modern Opeth, it simultaneously channels the visceral power of their early years. Far from a mere return to form, this album marks a bold evolution. It solidifies its place as one of the finest entries in their legendary discography and is sure to leave a lasting impression on listeners for years to come.