Opeth, the return.
Following years where the growls or Mikael Åkerfeldt had (almost) ceased to exist, the band not only releases a masterpiece concept album, but significantly rattles the waters with their 14th album “The last will and testament” and marks a noteworthy comeback in the heavy metal universe. This post-World War I concept album talks about family deceptions, unwanted secrets and dark relationships which are revealed, under shady circumstances. Waltteri Väyrynen is the new member of the band behind the drums, making an excellent entrance to the band’s discography, on his own style and ways. The cover art is made by Travis Smith, like in many previous Opeth releases, who, according to Åkerfeldt himself ‘has put clothes’ on the album. There are important contributions on the album, for example: Ian Anderson from Jethro Tull plays flute and narrates the lyrics in a few songs. Joey Tempest from Europe does some backing vocals on song §2 (note: all songs, except the final one ‘A story never told’, are titled after a paragraph symbol, as Åkerfeldt explains: “The lyrics are like the reading of the testament. That’s why the songs don’t have titles, just paragraph one… two… down to seven”). The Swedish harpist and filmmaker Mia Westlund, known as Miriavyn has contributed with her harp. Åkerfeldt’s daughter Mirjam provides her voice on §1. Finally, the lyrics are written by Mikael Åkerfeldt, however with a dramatic consultation by his wife Klara Rönnqvist Fors (guitarist of Crucified Barbara and The Heard).
So, this concept album marks the return (for how long? We will see about that, as nobody can tell right now, probably not even Mikael himself) of the heavy growls, a trademark element of the band for decades and something which was high on the agenda of many fans. This haunting melodrama is very meticulously crafted in the midst of dark recollections, unforgettable secrets, putting relationships on the test and the idea of all against one and one vs. all. This is like watching an old classic thriller on the big screen, where you don’t know what expects to be seen in the next corner and where dramatic events are unfolded in front of view with the perfect dramatic soundtrack.
To my humble opinion, this is one of the best Opeth albums ever made, simply because it encompasses everything the Opeth is all about, everything they represent and blending all their signature elements. Without any single doubt, this album is:
Very dark and heavy, mellow and deeply melancholic, progressive and technical without being too much of it and without losing the core essence of its progressive approach (§4 is a perfect example where the flute and the harp meet heavy metal in such a corresponding and coinciding way). The band tells the story of a family, its heir(s) and all the secrets that transform and affect everything so dramatically. The guitars are so beautiful, either on the heavy stuff and also on the prog/calmer moments. The lyrics are so capturing and seizing of your interest for the story. Ian Anderson has done a fantastic job as the narrator of the whole thing, adding to the drama and cinematic element. The old school Martin Mendez provides the perfect foundation for the heaviness and ‘gravity’ of the album, after all, he is the second oldest in band and he know that work soo well! Joakim Svalberg majestically adds to the progressive character, with brilliant passages, either complicating things for the story or reveals the simplicity of this masterpiece album. The new boy, Waltteri Väyrynen, is the death metal force behind the wheels, and he is doing an amazing job overall in the rhythm section, solid, groovy and natural playing.
With Opeth, there is never a closing cycle, you never know when or if this happens, simply because the band does not put a definitive and absolute end to one, but they get re-inspired and re-ignited to write new and exciting music, without losing their previous momentum, catching things where they had left them previously (“Watershed”) and filter them through their new experiences, ideas and thoughts. Even though “The last will and testament” is created with a remarkable cohesion, melodramatic structure and stimulating story-telling, blending death metal, progressive rock and even classic music, it might divide their fanbase and make people reconsider their opinion on their hierarchy of which album they like most. Of course this is a time consuming process, not a one off thinking, but this record is truly a magnificent one, an album which will be remembered as one of their finest achievements.
9/10
Tracklisting:
01 – §1
02 – §2
03 – §3
04 – §4
05 – §5
06 – §6
07 – §7
08 – A Story Never Told
Lineup:
Mikael Åkerfeldt – Vocals, guitars
Fredrik Åkesson – Guitars, backing vocals
Martin Mendez – Bass guitar
Waltteri Väyrynen – Drums and percussion
Joakim Svalberg – Keyboards, backing vocals
Special Guests:
Ian Anderson (Jethro Tull) – spoken word (tracks 1, 2, 4, 7) // flute (tracks 4, 7)
Joey Tempest (Europe) – backing vocals (track 2)
Mirjam Åkerfeldt – spoken word (track 1)
Opeth’s official website
