The Last Will and Testament by Opeth

Opeth's The Last Will and Testament, released on November 22, 2024, as a double LP at 45 RPM.

The growl returns, but as always perfectly in context and beautifully alternated with the clear vocals.

Beautiful compositions, very prog, with an exceptional rhythm section.

The London Session Orchestra's choirs and strings are beautiful, as are Mia Westlund's harp, and how could I not mention Ian Anderson's flute and spoken word.

An album that redefines everything: it redefines progressive death metal and progressive rock, with the addition of acoustic and classical instruments—zither, mellotron, piano, Hammond, Moog, and, if I'm not mistaken, samples and new sounds—with a first-rate production.

I believe this is the most revolutionary and, at the same time, regenerative progressive rock album I've heard so far.

A synthesis, the sublimation of what prog has become in recent decades, through metal and dead metal, neo- and avant-prog, which converge into a single, contemporary sound that never conveys the feeling of 1970s nostalgia that permeates many albums of recent years, but something new that arises from a change and completes it.

An ambitious work that requires many listens, dense with nuances and a very dark atmosphere, of great emotional impact with a magnificent and incredible Mikael Åkerfeldt.

A few notes on the tracks, but I repeat, this album must be listened to in its entirety.

- §1 Powerful opening, very heavy song, growls and clear vocals alternate, beautiful riffs and hints of progressive rock. One of the TOP tracks.

- §2 Aggressive death metal and progressive rock combined, great technique and execution in both genres explored.

- §3 Extraordinary progressive arrangements, great rhythm section complexity, great riffs, and a fantastic guitar solo.

- §4 Very exciting, transitioning from very smooth mod to absolutely aggressive.

- §5 Has a funky touch, Middle Eastern folk and flamenco sounds combined with a prog arrangement. Beautiful acoustic guitar and backing vocals.

- §6 Unusual melodies for Opeth and many atmospheric shifts.

- §7 Exciting, with great organ riffs and growls.

- A Story Never Told closes the album, a ballad where Akerfeldt dominates, a spectacular song with a great solo by Akesson.

To those who don't like growls, I say I didn't love them either. I started out skeptical with Crimson Edge of Sanity, and continued with Opeth, and I realized something I can summarize in my own words with an example.

The monster in Alien is terrifying, it's deliberately disturbing, and it's part of a story, a narrative. It fits into a context and couldn't be otherwise; if it weren't so monstrous, the story wouldn't make sense.

In my opinion, the growl in Opeth's world has the same value. If it weren't there, the narrative wouldn't make sense, and this album (and the others as well) wouldn't be so good.

An exceptional album that's absolutely recommended!

The Tracks

1. §1 (6:11)
2. §2 (5:40)
3. §3 (5:11)
4. §4 (7:05)
5. §5 (7:35)
6. §6 (6:16)
7. §7 (6:28)
8. A Story Never Told (7:10)
Running Time 51:36

Line-Up

- Mikael Åkerfeldt - vocals, guitars
- Fredrik Åkesson - guitars, backing vocals
- Martin Mendez - bass
- Waltteri Vayrynen - drums and percussion
- Joakim Svalberg - keyboards, backing vocals

Featuring:
- Ian Anderson - spoken lyrics
- Mirjam Åkerfeldt - spoken lyrics
- Joey Tempest - spoken lyrics