November 22
Reigning Phoenix Music/Moderbolaget!
Words by Michael Naidos
Ageing gracefully into their fourth decade, Opeth are solidifying their “dad prog” status with their 14th studio album The Last Will & Testament by doing what dads love to do, tell a tale about some old mate they know…and boy do they have one to growl about. The first studio album since 2019’s In Cauda Venenum, Opeth’s new album is a welcome return to the concept album and the long-awaited inclusion of death metal characteristics, as well as the debut for a fresh member in drummer Waltteri Vayrynen. But WILL it live up to the hype?
The Last Will & Testament tells the Succession-inspired story of surprising declarations and betrayal at the will reading of the recently passed patriarchal member to his family. In attendance are his twin boys, birthed through donor procreation, and their sister, who is revealed to be the only child related by blood and possible sole heiress. The arc is guided throughout the album by a narrator of sorts in the reader of the will who sporadically brings forth exposition and is portrayed by Jethro Tull’s Ian Anderson. Therefore, the tracks are not given traditional names but rather labelled with an § symbol representing the sectioned paragraphs.
§1 sets the scene perfectly by opening with footsteps and creating atmosphere instantly in its humbled eeriness with help from frontman Mikael Akerfeldt’s youngest daughter Mirjam providing a disembodied spoken voice. The intro has Opeth signatures galore, from the thrusting bass to the ringing guitars.
Showcasing Joakim Svalberg on organs and ending with a doleful string arrangement, they have firmly seated us amongst the family in their deceased dad’s mansion and nestled in for the sorrowful reading of his will. The track starts the album off strong and will have you hooked and screaming along in delight.
Malaise is afoot, with secrets beginning to reveal themselves in §2. The thriving pace and preventative riffage fuels the tension, and the inclusion of organ and orchestral strings haunt throughout. Backing vocals are provided by Europe’s Joey Tempest but it’s Akerfeldt’s howling vocals that have confidently assured us that his versatility is back and as perfect as ever.
The story and album is getting more interesting track by track with the band working together so smoothly that it feels very cinematic, and the production skills are on fire (co-produced by Akerfeldt and Stefan Bowman) with the character work in the vocals doing something really magical and wonderfully assisting the turmoil of the narrative. Martin Mendez’ bass work is sensational on §3. and the ending will please fans of the band’s Deliverance-era.
Vayrynen has brought a welcoming smorgasbord of percussion skills and shines throughout §4. The track has a middle section reminiscent of classic Led Zeppelin, right down to the flutes which are expertly played by Anderson. A sublimely groovy composition, and the album’s production continues to excel tremendously.
There’s a comfort in confrontation on §5 as the story gets pretty hectic, but fortunately so does the songwriting. The more Opeth jam into one track, the more I’m impressed that no song is longer than seven minutes, though the fade out here has me wishful thinking that there’s seven more…anything is possible now that the album’s release has been pushed from October 11 to November 22.
An ascent of groove permeates the start of §6 which then proceeds with one beastly composition in the middle before a graceful descent. The harmonious guitars of Akerfeldt and Fredrik Akesson are outstanding and absolutely shred blissfully before the calm of the outro. To make music this interesting on your 14th album is exactly why Opeth have reigned supreme for over three decades.
Thus brings us to the seventh and final paragraph of the will with §7. It’s fittingly accompanied by keys to reconcile with the mourning and a choir exits the will reading as the band plays out with an uncanny similarity to church bells.
The epilogue and only track with a title A Story Never Told, as well as the only ballad on the album, brings the album to a soft landing with its infectious melody. And so the curtain closes on easily one of the most satisfying Opeth albums in over a decade, and worthwhile in its wait. From bated breath comes godlike growls. Bravo, gentlemen.
