The 2010s were a curious decade to be an Opeth fan. For a band who made their name off constant musical reinvention, even their most devout followers were taken aback by 2011’s Heritage, which saw the band abandon their death metal roots once and for all in favor of ’70s prog rock romanticism. The albums that subsequently followed expanded upon this vein, leaving many wondering if we’d ever hear “the old Opeth” again in our lifetimes. Well folks, after years of begging Mikael Åkerfeldt to “do the roar”, he’s finally relented. However, that isn’t the sole point of note on Opeth’s latest studio album, The Last Will and Testament.
Chronicling the tale of a deceased 20th century patriarch and the reading of his last and will and testament to his children (Or are they?), The Last Will and Testament sees Opeth returning to the progressive death metal sound of such ’00s classics as Blackwater Park (2001) and Deliverance (2002). Despite their long absence from this style, the band picks up exactly where they left off on Watershed (2008), fusing Swedish death extremity with ’70s prog intricacies to create a piece that is truly daunting and daring from start to finish, channeling the glories of Opeth’s heyday.
Each song is divided into a paragraph, each paragraph unveiling the secrecy within this man’s will. As the narrative progresses, so does the intensity of the music itself. “§1” wastes no time, barraging us with pummeling guitars, hypnotic instrumentation, and Åkerfeldt’s iconic growls, powerful as ever after all these years. “§2” follows, its heaviest moments feeling like a throwback to Opeth’s earliest days (i.e. Orchid) which are then countered by ’70s prog rock maneuvers akin to Jethro Tull. Speaking of Tull, Ian Anderson provides spoken word and flute throughout this affair, his first appearance being on this here song.
This aforementioned ’70s prog worship is executed brilliantly on the mesmerizing “§4”, yet coexists subtly amongst pure prog-death brutality on “§5” and “§6”. “§5” in particular captivates me, beginning as a gentle ’70s prog throwback, before metamorphosing into a truly unhinged exploration in feral prog-death. Amidst all the gruesome growls and hellish riffs and complex rhythms are light acoustic passages and lush orchestration and Yes-esque harmonies. Nearly 30 years after Orchid, and this band is still finding ways to make both prog and metal a unique listening experience, defying convention and norms. It should also be noted that this might be Opeth’s most avant-garde album to date, the sheer chaos of the switchovers within any one given song recalling Red era King Crimson.
As the symphonic prog balladry of “A Story Never Told” brings this album to a finish, we’re left with a conclusion that’s nearly as foreboding as its beginning. Sure, we know now how the tale starts and ends, but the music itself boasts an aura of ominousness, and like every great Opeth album before it, will take at least half a dozen listens to fully process itself in the mind of the listener. So for the time being, before I further indulge myself in this latest Opeth opus (say that five times faster) any further, here’s the final score…
9 out of 10
Label: Reigning Phoenix Music
Genre: Progressive Death Metal
For fans of: Enslaved, Riverside, Jethro Tull
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