Heritage by Opeth

- Nepenthe closes side B with a very atmospheric beginning and with light guitar and synths, just as light is the subtle bass and drum background that is limited to a few touches. The track grows when the beautiful vocals and electric piano come in with a melody that leaves room for the light and ethereal mood of the intense opening theme, then the song builds from the guitar as the tempo becomes more pressing with a syncopated jazz atmosphere and a distorted guitar part for a brief phase that alternates again and again with the initial ethereal mood in this long acoustic section. The electric guitar is beautiful, docile and aggressive in turns. Great vocal performance that closes the song.
- Häxprocess starts with beautiful guitar, drums, electric piano and bass phrases, very tasteful, with continuous interludes and breaks, an atmosphere of mystery that fades into silence in which the voice is solo and the piano immediately repeats its melodies. The guitar picks up the melodic theme and prolongs it in an arpeggio supported by long synth sounds and light winds. Then the song changes and the guitar and drums with splendid counter-times provide the base for the voice in a ballad sustained in rhythm and variations. The Mellotron beautifully fills the spaces, acoustic guitar embellishments highlight moments of the song with accents, the winds intervene sporadically and unexpectedly. Beautiful suspended and tense atmosphere at the same time. Top drums throughout the song. The real hidden protagonist among the melodic textures, the bass then traces a deep driving rhythm and the guitar launches into a solo with crazy sustain and masterful taste. When a distant piano line comes in during the silence, as the bass fades, the song closes. Masterpiece
- Famine opens side C, with an orchestral section of pure atmosphere. Winds. Synth. Prolonged percussive base on which the synth gives way to the piano in a beautiful melodic intro. Melancholic moment of solo piano and splendid voice, intense and deep. Then the electric guitar starts with a whirling solo on which drums and vocals accelerate and it becomes pure progressive metal, full of harmonic variations and instrumental emphasis. The piano returns alone with the percussion that grows slightly and then the voice is added and then the whole band for a new choral and epic phase, hard and decisive. Beautiful atmosphere on the border with heavy metal before the guitar, electric piano and bass return and a very light drum in a slow and powerful blues rock mood with winds that intervene and disappear after leaving a sense of magic. Then the powerful phase returns and the flutes become trills among the cymbal hits and the round rhythms of the bass. The track closes with distant, ethereal, dreamy electric piano. Exceptional track.
- The Lines in My Hand immediately gives us a monstrous drum and bass base, in an intense groove on which piano, keyboards and guitar grow, which on this sustained rhythm starts with a clean and driving solo while the synths cast a suspended atmosphere over the track and the acoustic guitar warbles virtuosity. A cornucopia of variations and virtuosity as the track accelerates again and becomes pure roaring metal, with an exceptional vintage-sounding guitar riff. Monumental work by the band and an extraordinary rhythm section. Closes almost abruptly a fantastic track.
- Folklore, one of the longest tracks, opens side D, with a long electric guitar intro with splendid harmonic progressions and various playing techniques, from arpeggio to pizzicato to rhythmic. This intro opens a ballad that with bass, drums and flutes becomes a prog ballad of great executive complexity and passion. Monumental bass work that draws a splendid rhythmic and melodic base. The piece ignites in brief epic phases but then returns to the guitar riff that joins rhythmically with the bass and drums groove, with a pressing and at the same time emotional pace. The vocals are also splendid here. A track that changes and varies while maintaining different levels of intensity but always the same level of emotion and passion, then the guitar takes center stage several times as does the piano and they alternate in acoustic solos. The drums hint at a restart that is held back in bass solos. The epic phase begins and the keyboards lay a carpet of sounds for the ride and the guitar solo, then the voice comes in and then the choirs and counter-singing. A track with simple textures if taken alone but that finds complexity in the variations. Melodies that alternate and stellar execution. Masterpiece.
- Marrow of the Earth, closes the album with just over 4 minutes of only acoustic guitars, atmospheric and pastoral. Great melody and emotion in the virtuosity. Mystery. Doubt, but also serenity and surprise in this acoustic narrative. Only at the end does the band accompany us in its entirety to the close of the album in a choral, emotional, dreamy transport... magnificent ending.

This beautiful album has divided fans, many appreciate it for its boldness and others would have preferred a return to heavier sounds. It is nevertheless undeniable that Heritage represents a masterpiece of creativity and originality. Opeth continue to push the boundaries of music, and Heritage is a clear example of their ability to evolve and surprise. This album is a testament to the band's musical genius and deserves to be listened to carefully.
 

Absolutely recommended.

Tracklist

Tracklist
1. Heritage (2:05)
2. The Devil's Orchard (6:40)
3. I Feel the Dark (6:37)
4. Slither (4:00)
5. Nepenthe (5:37)
6. Häxprocess (6:58)
7. Famine (8:32)
8. The Lines in My Hand (3:49)
9. Folklore (8:17)
10. Marrow of the Earth (4:19)
Duration 56:54

LineUp

- Mikael Åkerfeldt - electric and acoustic guitar, Mellotron, grand piano, effects, vocals, producer
- Fredrik Åkesson - electric guitar
- Per Wiberg - Hammond B3, Mellotron, Fender Rhodes, Wurlitzer, grand piano
- Martin Mendez - bass, double bass
- Martin Axenrot - drums, percussion
With:
- Joakim Svalberg - grand piano (1)
- Björn J:son Lindh - flute (7)
- Alex Acuña - percussion (7)
- Charlie Dodd - sound effects (6)
- Steven Wilson - effects and vocal engineering and mixing

Note: All links to the musicians' works are in the TAGS under the article title or on the "Artists" page