Reigning Phoenix Music
Opeth’s 14th studio album and the band’s first concept record since 1999’s “Still Life” tells the story of the legacy that a rich, conservative patriarch leaves to his children and a sick foster daughter, post-World War I. It explores themes of betrayal, heritage and identity. The plot begins with the reading of the will, and almost all of the songs are simply numbered according to the paragraphs of the document, beginning with “§1”. None of them are long (there is nothing above 7 and a half minutes), but the paragraphs do come together to form a “whole”. Let’s take a read together…
“§1” was first released as a single and much of the metal world celebrated the return of frontman Mikael Åkerfeldt’s growling vocals. Let’s be clear, just because the “growls are back” along with some heavy, aggressive elements does not mean Opeth have returned to their death metal origins. The band continue on their progressive path but masterfully weave together their mastery of progressive and death metal music with jazz and cinematic majesty, the latter being a key element of “§1”. The introductory mix of bass, keyboards and drums is followed by an outburst of mammoth riffs and death growls, as powerful as those on “Ghost of Perdition”, and then breaks down to just keys and orchestra.
“§2” swings with groovy guitars, shifting tempos, captivating keyboards and spoken-word narration from Ian Anderson of Jethro Tull, who reads the will. When Joey Tempest’s vocals arrive, they are subtle and illuminate the background of Åkerfeldt’s clean vocals. It’s one of the album’s most intriguing compositions. “§3” is equally intense and shifting with stop-start riffs, bombastic strings and haunting low register clean vocals. It has some of the hallmarks of a dark prog epic. “§4” is a free and complex, weaving together Anderson’s flute interludes, an enchanting harp section, Martín Méndez’s groove laced bass, driving, powerful drums from Waltteri Väyrynen and stunning guitar work from guitarist Fredrik Åkesson.
The pastoral, warm orchestral introduction to “§5” leads to brutal guttural vocals and relentless rhythms, with handclaps, a Middle Eastern motif, and soaring guitar segments in between. It’s a perfect fusion of atmosphere and aggression. Väyrynen’s drums shine on “§6”, as does Joakim Svalberg’s ornate synth. His keyboard solo on this track is classic 70’s prog era. Anderson’s spoken word returns on “§7”, which has a deep, resonant bass groove from Mendez. The suspense and tension are enhanced by not rushing to reach resolution, something that Åkerfeldt has mastered. Towards the end of the track, however, there is a sense of forthcoming resolution, and it is finally reached on the closing piano-led ballad “A Story Never Told”, the only track not named after a paragraph. The song contains one of the finest, most emotional guitar solos on any Opeth record. Åkesson seems to channel Ritchie Blackmore, David Gilmour and Gary Moore all at once while still maintaining his own identity. Svalberg’s piano work is sympathetic and sensitive, complimenting Åkerfeldt’s clean vocals, which are heartfelt and as moving as they are on the band’s “Damnation” album.
Like Scott Walker’s “The Drift”, “The Last Will and Testament” is so dense in places and full of unconventional song structures and twists that, on a first listen, it might bewilder a few listeners, but be patient, this album is a “grower”. Musically diverse and yet cohesive, it’s a unique soundscape of intricate and imaginative compositions, flawless production, and accomplished and sophisticated playing with fresh energy injected by drummer Waltteri Väyrynen. Yes, Åkerfeldt’s growls have returned, but Opeth have not taken a step back in time, on the contrary, they have evolved and pushed boundaries, which is ultimately what the true meaning of “progressive” is.
5.5/6 | Anne-Marie Forker
Release date: 22 November 2024