[Review] Opeth – The Last Will and Testament

Swedish Progressive Metallers Opeth released their 14th studio album, “The Last Will And Testament,” on October 11, 2024 via Reigning Phoenix Music/Moderbolaget. The album consists of eight tracks developed in the form of a concept and featuring world-class guests from the music scene. The return to the growl in a more prominent manner, the right mixture of Death Metal from its origins and the more Progressive sounds developed over the years are packed together with much more in this concept. Opener “§1” immediately shows what the musical orientation of the album is, heavy guitars and a gritty, tight rhythm section take us back to the Progressive Death Metal of the origins. Mikael’s vocals alternate a dark, scratchy growl with more melodic parts, as does the music, which incorporates more Progressive Rock elements. The keyboards fit perfectly into the musical context of the song, creating a good mixture with the orchestrations and exploiting a wide range of instruments and sounds. The track ends with a Symphonic string outro with a Baroque atmosphere. Linking up with the previous “§2,” it immediately develops an aggressive Progressive Death Metal sound, with an incisive and penetrating vocal. The track develops on very elaborate sounds with dark atmospheres, alternating softer passages enriched by keyboards and orchestrations with accelerations that bring out all the band’s power. The vocals in the more delicate parts are warm and expressive and act as a counterbalance to the abrasive growl of the verses. In the second half, the band explores sounds closer to heavy prog with a rhythm section enriched by tempo changes and fine guitar-keyboard-chorus interlacing, ending in a crescendo. The album’s shortest track “§3,” which we already enjoyed as a single strat, features one of the album’s most complex rhythmic structures. Constantly evolving, full of continuous tempo changes and with a uniquely clean vocal, it is a concentrate of technique and power. Solid riffs intertwined with keyboards, solo inserts and virtuosic passages take the sound to another level. It was certainly a good choice to choose it as a single, as it enhances the band’s qualities and songwriting. “§4” continues in the style of the previous one, offering another intricate rhythm section and a progressive death metal sound with melodic openings. The vocals alternate between growl parts and softer ones, always incisive and involving, while with the entry of Ian Anderson the band incorporates Folk elements and the unmistakable touch of the master brings back those atmospheres. The instrumental section in the middle part increases in intensity as the minutes go by and the theme develops, leading into the band’s heavier sounds. In the finale, the orchestrations connect us to “§5,” which is the longest in duration, opens with an elaborate rhythmic Prog theme that evolves by incorporating Prog Death elements and growl singing. The band combines symphonic openings with Eastern melodies with brutal bursts of technical and penetrating Death Metal with one of the most aggressive vocals on the album. In the instrumental sections, the band brings out all its technique with virtuoso solo interventions and frenetic technical and elaborate tempo changes. The second part in a musical crescendo leads us to the finale, incorporating elements of Folk, Prog and Death Metal. The drums are prominent in the first part of “§6,” driving the sound, then incorporating a killer bassline into the rhythm section. The band here emphasises performance technique more than in other tracks, thanks also to complex instrumental parts that weave keyboards and synths and guitars between virtuosities and very intense duets. The choral parts act as a counterbalance to Mikael’s abrasive growl, allowing the perfect success of this refined blend of Prog Rock and Prog Death Metal, of which the band is a pioneer. In the finale, they leave us reeling with a dreamy instrumental section and a Flydian guitar solo. “§7” is a solid track that explores more Progressive Rock sounds with largely narrated vocals interpreting the lyrics. When Mikael inserts the growl the track becomes more aggressive and alternating with pompous Prog parts with keyboards in evidence, a masterpiece that shows a softer but still very complex and elaborate side of the band. The rhythm section is driving and full of tempo changes, the solo interventions technical and intense, with the instrumental sections accompanying us for most of the song. The album ends with “A Story Never Told,” concluding with triumphant atmospheres and sounds markedly Symphonic Prog this delightful chapter in the band’s discography. An album that shows once again that Opeth are masters and innovators always able to renew themselves and offer intense and engaging works where quality is el first place. Elaborate textures, melodic openings, intense solos and valuable keyboard work. The return to a greater presence of growl and heavy sounds is apt, with the rhythm section being a real added value to the band’s sound. A listen that confirms and exceeds expectations, offering an elaborate concept full of refined ideas and cues, taking Progressive Death Metal sounds to another level.

Tracklist

01. §1 (6:11)
02. §2 (5:40)
03. §3 (5:11)
04. §4 (7:05)
05. §5 (7:35)
06. §6 (6:16)
07. §7 (6:28)
08. A Story Never Told (7:10)

Lineup

Mikael Åkerfeldt / Guitars, Lead and Backing Vocals, Cittra, Mellotrons, Percussion & FX, String Arrangements, Art Direction, Lyrical Concept
Martín Méndez / Bass, Backing Vocals
Fredrik Åkesson / Guitars, Backing Vocals
Joakim Svalberg / Piano, Hammond Organ, Mellotrons, Fender Rhodes & Moogs, backing Vocals and FX
Waltteri Väyrynen / Drums, Percussion, Backing Vocals

Guest:

Ian Anderson / Flute (§4, §7, “A Story Never Told“), Spoken Word (§1, §2, §4 and §7)
Joey Tempest / Backing Vocals (§2)
Mia Westlund / Harp (§4)
Mirjam Åkerfeldt / Spoken Word (§1)
London Session Orchestra / Strings
Dave Stewart / String Arrangements

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Moderbolaget Records |Facebook Page|X (Twitter)|YouTube Channel|