OPETH

OPETH is a snub to the old progs who shouted at me at the beginning that it wasn't prog because it shouted... And then with time, they praised this group, turning their cutie! So when I heard for some time that it was growling again in the last one, I concocted an intense sequence to listen to it seriously on repeat!! Note that we are on a concept album listing a testament, so no titles just chapters.

1. §1 a clock time is running out, an old dated sound, a growl voice yes we were warned and it will thumb its nose at the progs who didn't like Opeth before, and who had been praising it for 3 or 4 albums; a tune that smells good however of Gentle Giant for the instrumental parts, the growl being soft, contained, the high choirs much more incisive; the symphonic finale to cast even more doubt, I love it, it's Opeth! 2. §2 continues, grandiloquent air, like a Mr Bungle bazaar, hilarious, festive on the circus; the growl that was the prerogative of the group comes back at a gallop, the pads and the riff are played at a gallop; it dies out, jazzy- bluesy air on the Albionesque nursery rhyme, well aren't they Swedish, the buggers? In short, surprise every minute or almost with a superb guitar solo 3. §3 continues, instrumental in the spearhead, a little orientalized; the low choirs come to give enthusiasm on a syncopated air, the Balkan violin imprinting the progressive fusion spirit that suits them well; the mix between the hard typed of yesteryear and the lively bass bordering on disco makes the sound diverse and captivating, on the edge of musical fury, controlled but evil; the cinematic outro with choirs a time just before the apocalypse in this soft non-growled title 4. §4 returns to basics, it's extreme tech prog metal as announced; noise and the Japanese, Achillean break that kills; we think of KITAJIMA, VOLLENWEIDER for these refined, crystalline notes; the pad and the keyboard continue to amaze with a jazzy air with a flute, hold on that of JETHRO TULL passing by; the wave rises and explodes growly-belching, I guess the fright of prog friends. Another ambient break sows doubt again for sharp ears before the heavy fruity experimental finale; a little wind and

5. §5 arrives, like the symphony that resembles it; Mikael speaks there and takes us on a mid-tempo title until the associated growly surge; a deep voice to take as an instrument under penalty of panicking before this musical maelstrom; it tinkers with a phrased voice and its assumed oriental air; wild guitar solo before the orchestral return, the folk-jazzy air worthy of a Zappa before the strong finale then in decrescendo bringing a tortured organ of time on 6. §6 which could be suitable on a Deep Purple, a symphonic Black Sabbath and the zen, ambient, atmospheric, progressive rise; vocal placed on the left, poof not long the growl returns at triple gallop; twirling synth halfway followed by a guitar, the voice settles, becomes musical; final break with the aerial guitar that stands out, the keyboard of time even more, the piano notes launched at the end even more 7. §7 frantic riff, progressive start, undergone break with opera vocal, spoken voice, one would think oneself in the lair of the extreme prog mountain, the one from which animal cries come out; here it is the cry, here it is the classical choir, this piece bewitches or captivates or both; the guitar at one time jazzy, at another time bluesy, the bass all the time heavy, heavy and heavy hard; one begins to get used to this ultimate sound when the bass strikes a metronomic pompous air that will rise again and again, the cinematic air in fashion since the new decade 8. A Story Never Told with the soft, ethereal crystalline guitar, I check yes it is indeed Opeth again on a title named there; flute, piano and syrupy voice for the ageless aerial ballad; a sweetness to clean the ears of those who do not know the true blood of OPETH surely. A beautiful guitar solo all in color comes to shine the cover.

A slap at the end of this year which demonstrates that prog does not belong to the 70s or the 80s but to Opeth, that's written!!

Few bands have so drastically transformed the canon of progressive music as Opeth has. Since the '90s, the Swedes have delivered work after work, perfecting their craft while navigating the vast influences that Mikael Åkerfeldt treasures as a devoted music aficionado and tireless innovator. With The Last Will and Testament, we are met with a fully bloomed Opeth?one that, after journeying through the majestic sounds of '70s progressive rock and the brutality of melodic death metal, manages to marry the best of both worlds in an indulgent, abundant masterpiece capable of reconciling their vast and divided fanbase.

Comparisons to Watershed (2008) are inevitable due to the album's intricate complexity, the heavy use of synthesizers, and the triumphant return of Mikael's growling vocals, which have never sounded better. The album's aesthetic, steeped in the 1920s, and its frosty sonic textures demonstrate the band's continued willingness to explore the elegant style first hinted at in In Cauda Venenum (2019). However, this record distances itself from its predecessor with a crisper production that amplifies every section and achieves a more balanced mix.

Yet, all comparisons pale in the face of this album's unpredictability. It traverses a vast range of emotions and tonalities befitting its theme: the melodramatic reading of a patriarch's will, filled with twisted mysteries and sinister plot twists. And who better to guide us through these calamities than Ian Anderson? His vocal and instrumental contributions infuse the album with the progressive spark that lights our way through each paragraph of the testament (§). His flute solo on "§4" is an eclectic moment of madness that contrasts sharply with the solemnity he brings to "A Story Never Told," the album's poignant finale.

Tracks like "§2" and "§5" keep us perpetually off balance with extreme and contrasting passages that perfectly illustrate Opeth's dual nature. From captivating melodies of solemn beauty to the most tense gatherings of diminished chords, the album encompasses acoustic instrumentals, clapping hands (olé!), and synthesizer solos. Joakim Svalberg shines throughout the record, wielding a palette of analog keyboards?Mellotrons, Hammond organs, and more?to craft dense and enveloping atmospheres like a shadowy architect.

The rhythmic duo of Waltteri and Méndez delivers aggressive grooves that elevate the album to another plane with unexpected syncopations, subtle ghost notes, and bass counter-melodies as beautiful as the primary motifs. Both "§1" and "§4" are fundamentally built on their work, generating hypnotic rhythms where bass and kick drum provide a tightly controlled foundation of tension and precision.

Euphoria will wash over fans as they hear the bombastic riffs and visceral growls in tracks like "§2" and "§7." These extreme passages intertwine with baroque sections, jazzy interludes, and moments of acoustic introspection, resulting in a rich, multifaceted musical experience. Every sonic choice breathes life into the vivid images Åkerfeldt envisioned for this musical narrative. The outcome is a wholly synesthetic, cinematic experience.

"§1" introduces all the elements that make this album an instant classic: supersonic grooves, Méndez's profound and contemplative basslines, and Åkesson's evocative guitar work, a wizard of melody. Major chords rising from the shadows establish the album's chiaroscuro tone, paired with the fervent chorus proclaiming, "The last will and testament of father." The echo of the growls?after 16 long years?is etched into memory as a moment of pure joy for Opeth's fans. The string arrangement closing the track is simply breathtaking, a testament to the meticulous detail poured into this masterpiece. Conceptually, the song serves as a framing device for the story, setting the stage in the patriarch's eerie mansion where the intricate narrative unfolds.

"§2" begins brutally, allowing no time to breathe, accompanied by stunning poetry narrating the daughter's tale:

"A child in the night Cursed to survive Love like quicksand And deflowered maid in tow."

The lyrics stand out for their carefully crafted metrics and storytelling, recalling gems like "White Cluster" (1999). A dark melody materializes among the strings, introducing the lawyer (Ian Anderson) who reads the father's confessions?sins that will decisively shape the inheritance and the fate of his descendants. The song weaves between extreme guitars and Mellotrons that complement each other to form atmospheres steeped in malevolence, with Joey Tempest's arena- rock choirs adding a theatrical flair. Amid the misery, an acoustic and synthesizer interlude opens a quasi-psychedelic section reminiscent of The Beatles. Mikael bids farewell with a beautiful refrain, "There is a rising tide of sorrow," marking the 26th instance of the word "sorrow" in Opeth's discography?because why break the tradition?

The third paragraph ("§3") tells the story of the patriarch's polio-stricken daughter. Classy violin arrangements perfectly evoke the postwar era, marked by disease and upheaval. Mikael's vocal acrobatics are spine-chilling, with lines like, "Matrimonial locks, skeleton key," delivering some of the album's most iconic moments. Here, the most astounding atmospheric shifts unfold, and Mikael even takes time to tune his guitar between D and E standard during live performances. Abrasive Middle Eastern melodies and the baroque introduction elevate this track as an exemplar of the album's superior balance and versatility.

"§4" mesmerizes from its opening Mellotron-infused oriental riffs, gliding atop a liquid, modern groove. Mikael's vocals traverse styles, culminating in operatic choruses reminiscent of Freddie Mercury. Harp melodies infuse solemnity, underscoring the patriarch's revelation that the twins are not his sons after all. What follows is an incredible diminished E riff intertwined with Anderson's flute, painting a soundscape that is nothing short of masterful. Åkesson's solo is intentional and melodic, seamlessly blending with the composition. The track concludes with an extended hypnotic riff filled with diminished chords, syncopation, and double bass?a quintessential Opeth moment.

The album's orchestral malevolence continues into "§5," a monster of a track that opens with an energetic acoustic riff seamlessly transitioning into metallic grandeur. Growls emerge and recede amidst frantic transitions and jazzy guitar tinges reminiscent of "Häxprocess" (2011). Synthesizers and pads take the forefront here, massive Mellotrons swallowing the mix in a dramatic homage to Åkerfeldt's '70s influences like Queen and Gentle Giant. The tension reaches a peak as the twins, in despair, confront the presence of the legitimate heiress.

Joakim takes the spotlight on "§6." Its opening, with an epic melody and a hopeful Dm-F-G progression over an unstoppable groove, stands out as one of the album's rare "happy" moments?a welcome respite from the nocturnal miasma. Midway, brutal riffs harken back to Blackwater Park (2001), while a Mellotron choir underscores Åkerfeldt's admiration for Änglagård. A Dream Theater-esque synthesizer solo defies all expectations, culminating in a bipolar melody that oscillates between epic, sublime, and sinister, only to end softly with Gilmour-like acoustic picking.

"§7" enthralls with its deadly beauty, replete with oriental melodies and sheer brutality. Anderson narrates the patriarch's philanthropic gifts?purely sentimental family relics. The track incorporates guttural depth, complex solos, and jazz-infused keyboards, evoking hints of Riverside. Strings accentuate the climax, delivering a slow, painful, contemplative finale.

Finally, the sublime beauty of "A Story Never Told" is simply breathtaking. Without spoiling, it invites listeners to experience this magnificent track, reminiscent of "Isolation Years" (2005) or "Lovelorn Crime" (2019). A melody both familiar and liberating shatters the oppressive atmosphere of the desolate mansion, representing a break from all façades. Its concluding solo is destined for posterity, crowning a ballad that ranks among the finest in the band's 30- year career.

Like the best films, this album concludes with an incredible plot twist, grandeur, and a clear, relatable message: blood is not always thicker than water. Every detail is executed with meticulous thought, inspired by Succession, yet only Mikael could convey such tragedy through music. Challenging but deeply rewarding, The Last Will and Testament showcases Opeth at the peak of their creativity, balancing their dualities with operatic drama and signature flair.

Guest contributions elevate the album further: Joey Tempest (Europe) on choirs in "§2"; Ian Anderson (Jethro Tull), whose voice and flute add new dimensions; and Dave Stewart (Canterbury scene), whose string arrangements provide an additional layer of sophistication. The revitalization of the band, attributed partly to Waltteri's unmatched chops and death metal roots, is palpable. The return of growls feels perfectly integrated into the album's refined style.

To be clear, every Opeth album since Heritage (2011) is excellent, each contributing elements to this magnum opus. Åkerfeldt and company have consistently followed their hearts, evolving with unparalleled artistic integrity. Growls and death metal neither make nor break Opeth. This album transcends such debates.

In conclusion, The Last Will and Testament is Opeth's finest work in 15 years?a living relic that encapsulates the mastery of one of the most significant bands in progressive music history.

Opeth's Masterpiece in One Record

Opeth's The Last Will and Testament masterfully balances the band's death metal roots with the progressive sophistication developed over two decades.

The return of Mikael Åkerfeldt's growled vocals is a standout feature. Having been absent since 2008's Watershed, they return with commanding force, infusing raw intensity into tracks like "Eulogy for the Damned" and "Inheritance in Ashes."

I first encountered Opeth through Blackwater Park. Though it didn't initially resonate as I'd hoped, its depth grew on me over time. Later, Heritage captivated me with what I now consider one of the best progressive records I've ever heard?a perfect blend of heaviness, obscurity, and pastoral beauty. That album became my true gateway into Opeth's music. Today, I'm a devoted fan of much of their discography, with Still Life, Watershed, and Pale Communion as my top three favorites.

The Last Will and Testament presents a dark, post-World War I tale of betrayal and existential reckoning, with a cohesive narrative that amplifies its emotional weight. Each track unfolds like a chapter, exploring themes of identity, loss, and legacy. The lyrics are both enigmatic and evocative, encouraging a deeper emotional and intellectual connection.

Musically, the album is intricate and immersive, with Åkerfeldt's guitar work as a highlight. The riffs flow seamlessly between crushing heaviness and introspective delicacy, creating a masterful balance of tension and release. These ferocious moments blend with expansive melodic passages and atmospheric textures, showcasing the evolution of Opeth's recent sound. Guest contributions, such as Ian Anderson's flute on (§4, §7, A Story Never Told), spoken word (§1, §2, §4, and §7) and Joey Tempest's backing vocals (§2) add richness without overshadowing the band's identity.

Opeth's command of dynamics, effortlessly transitioning from serene acoustic interludes to thunderous crescendos. The production is impeccable, ensuring clarity while maintaining a cohesive and expansive atmosphere.

What sets The Last Will and Testament apart is its ability to resonate with fans across all eras of Opeth. Brutal yet melodic, intricate yet accessible, nostalgic yet forward-thinking?it synthesizes elements from their entire discography while presenting a fresh, independent vision.

For me, this album represents Opeth's finest achievement since Still Life. It captures the complexity of Pale Communion, the raw intensity of Watershed, and the timelessness of their earlier works, all within a single record.

The Last Will and Testament weaves together complex musicality and profound emotional weight. Polished with the maturity of modern Opeth, it simultaneously channels the visceral power of their early years. Far from a mere return to form, this album marks a bold evolution. It solidifies its place as one of the finest entries in their legendary discography and is sure to leave a lasting impression on listeners for years to come.

So here we go again with another Opeth album. I like Opeth except for one thing?Cookie Monster sings with them too often. I've been told that this is a great album, despite that. I hope so. Opeth gives me so many things I like, so I hope they outweigh the parts that I don't. I do believe this is the last album in the countdown (Prog Magazine Top 100 Prog Albums of all Time) that has this type of singing on it. So, let's get it done!

Track 1 - The Leper Affinity

We fade in with some synth sounds and kick into a big fast riff. And Cookie Monster comes in right away. I do like the harmonies in the guitar parts. A new riff starts at around 2:15, but Cookie Monster (Henceforth known as CM) keeps singing. Another riff enters a minute later, but CM returns again. The tempo slows at around 4:10, the guitars are still heavy but layered beautifully. The first clean vocals come in at around 4:45. Akerfeldt has a great voice when he uses it. Acoustic guitars accompany the change of tone. Dark, sinister heavy guitar parts return at around 5:45. CM begins growling again at around 6:35. This song is very heavy overall, so far other than the one minute in the middle of the song, until at around 9 minutes in a quiet piano part enters. This piano part is bringing the song to a close.

Track 2 - Bleak

I like the sound and the drum part in the intro. I love the slightly middle Eastern riff that follows. But of course, CM returns. I just read that Steven Wilson produced this album and contributes some vocals on this track. I think that might be him at around 3:30, then joined by Akerfeldt on harmonies. I like this calmer section quite a bit; lots of shifting meters. Things get even quieter at around 5:20, as there is a short interlude before the vocals return. By 6:20 things get heavier again, although in a more melodic way. This part wouldn't sound out of place on a Porcupine Tree album. CM returns at around 8:30. Interesting electronic sound effects close the track.

Track 3 - Harvest

This one begins with a 6-8 groove with acoustic strums as the primary sound, along with the rhythm section and a bit of electric guitar leadwork. The vocals come in smooth and clean. I can definitely feel the Steven Wilson influence at around 1:30. The song reminds me a bit of Iron Maiden's "Prodigal Son '' from Killers and that's a good thing. So far CM has stayed far away from the vocal booth on this one, and that makes it my favorite on the album, so far. I love the vocal interplay in the final minute of the song. We end on a subtle electric guitar solo.

Track 4 - The Drapery Falls.

This one also begins with an acoustic strum but is quickly joined by the full band playing heavy, but not overly so. It's another moderate 6-8 groove, but different sounding to the previous track. The intro goes until around 1:45, thin things quiet down. The first vocals join around 2:15 and they are clean but with an effect. The band kicked back in at just before 3:00, but the vocals remained clean. I am really enjoying this one so far. I like the guitar harmonies that begin around 4:35. Who let CM back into the room at 5:05? This was going so well. I like what's happening at around 6 minutes with the drums. CM is back at 6:50. Things get quiet again at around 7:50 with acoustic & clean vocals. Those parts are interspersed with heavier playing. I love the vocal harmonies on the second verse of this section. The section around 9:30 sounds kind of post-rock influenced with a very dense arrangement, but no lead instrument featured. The song fades out on that part.

Track 5 - Dirge for November

This one also begins acoustically with clean vocals. A clean electric joins in playing a jazz-tone lead part after the first verse. Things kick in heavily around 1:45. So far, I am enjoying this one. Again, it's taking on the vibe of a post- rock instrumental. But CM shows up at 3:28. He's kind of buried in the mix though. Things chill back out at around 5:50. We have a bit of a jazz chord melody thing happening on a clean electric guitar. This seems to be carrying us to the end of the song.

Track 6 - The Funeral Portrait

12-string acoustic fades in and leads to a heavy riff by around 30 seconds in. But CM rears his head again shortly thereafter. I love the riffs in this one. It's just the vocals that bother me. Things chill out at 3:55, but only briefly as CM returns 10 seconds later screaming at the top of his lungs. Nice guitar solos at around 5 minutes in. Clean harmony vocals enter at 6:50 and it sounds so refreshing. Excellent guitar dual lead at around 7:45. Things fade out following that.

Track 7 - Patterns in the Sky

A very short track at 1:50. We begin with fingerstyle acoustic guitar. A bit of piano joins in as well. This seems to be a brief interlude before the closing epic. I am a bit nervous now as to what faces me when it begins

Track 8 - Blackwater Park

The title track is the closing epic at just over 12 minutes long. This one fades in with mellotron strings joined by a heavy riff at a moderate tempo from the band. I like the sound of this. Everything drops out except for an acoustic guitar part played on the lower strings at around 1:45. But CM joins at just before the 2-minute point. Things chill back out at around 2:45 with clean electric guitar playing an arpeggiated part. This section lasts for about 2 and a half minutes. Then a heavy riff comes in and CM gives a warning growl showing that he's about to take over. I like the riffs that follow while he takes a break. He comes back again, briefly before a short guitar solo. Then he's back again. He's really showing off toward the last few minutes. Excellent double bass drum part at around 9:15. Acoustic guitar fills in for a few seconds then we are right back into all the growling and heaviness. Things cool down for the last 45 seconds of the track with arpeggiated acoustic fading out.

OVERALL IMPRESSIONS:

As usual after reviewing one of their albums I day I loved the music but hated the growling. There were a few tracks without it here. I believe Harvest was my favorite one on the album. Every track had things I liked about them. Overall, it's pretty good, so I'm going with 3.75 out of 5, which would have been higher except for CM. Well, I think we can say goodbye to him now though for the rest of the countdown. (Unless he shows up on a Tool or DT album which I don't think so on the ones that remain.)

Clicking 4, but really 3.75.

I will call myself a level 1 on this Opeth album, as I have heard and liked track 6, Hours of Wealth. My experience with Opeth, thus far, has been, in general, that I like the music and the "clean" vocals. However, it's the so-called "death metal growls", AKA the Cookie Monster vocals, that they insist on using that I have issues with. So, if the Cookie Monster doesn't make too many appearances, it'll be ok. If he does, it's going to be a tough listen.

Track 1 - Ghost of Perdition

Cookie Monster must have been locked in a box before this song started, because he starts out screaming his head off immediately as the song begins. At around 1:10, we get a cool prog metal riff and clean vocals. Nice harmonies on the second verse. But Cookie Monster (CM hereafter) cannot be held back for long. He comes back briefly before a mellow section with beautiful vocals from Michael Akerfeldt, backed by 12-String acoustic guitar. The riffage returns at around 4:10, with vocal harmonies being added to the clean vocals. There is a nice instrumental break at around 5:30. CM returns at 6:40, but briefly. There is a beautiful mellotron feature just after that. Excellent guitar solo at around 8 minutes, before CM comes back. The playing is fantastic. There is a nice acoustic feature at just after 9 minutes, followed by more great band playing.

Track 2 - The Baying of the Hounds

We start with a big power chord and go into a cool 6-8 with organ and heavy guitar, but they put CM on the mic again. Instrumentally it reminds me of a heavier version of Deep Purple, too bad the vocals ruin it. Clean vocals begin around 2 minutes, followed by harmonies. The playing in this song is amazing, sometimes reminding me of Dream Theater. There is a vibraphone part at around 3:30, with a tight, but controlled rhythm section pattern underneath. After some clean vocals, there are some nice bass fills. The intensity level rises again at around 5:30, still instrumental. Gothic choir vocals follow that, but the CM comes back. Thankfully the CM sections have been a brief annoyance, as the instrumental sections are fantastic. There are moments of pure beauty, like starting around 7:40 until CM returns at 9:40. He stays until the end about a minute later.

Track 3 - Beneath the Mire

This one starts off with a funky drum fill and an almost funky riff with a mellotron melody on top. After about a minute the music shifts rhythms., but then the funkiness returns at around 1:30. CM shows up at around 1:45. Clean vocals come in at about 2:40. Akerfeldt has a nice soulful voice when he's not growling. Things chill out at around 3:25 and we have just piano and a mellow guitar solo on top. Then it goes into an almost jazz fusion groove with clean vocals, then a nice guitar solo with an octave effect on it. There is a scream at about 5 minutes, but the clean vocals quickly return. CM starts growling again at about 6:15. A nice melodic guitar solo follows. There is a cool little breakdown part as the song fades out.

Track 4 - Atonement

A synth sound fades in to be joined by a mid-tempo drumbeat & bass, then followed by a melodic guitar solo. Nice intro. Excellent clean vocals join in. This one has a bit of a Middle Eastern vibe. At around 3 minutes there is a droning sound and what sounds like Tabla drums with vocals with an effect on them over the top. This one is all about the groove. I like it. So far CM has stayed away. There is a false ending at around 5:20. Then a clean guitar riff follows, with some other sounds accompanying. Probably my favorite track so far. (I'd have liked the others better if it weren't for CM messing them up.)

Track 5 - Reverie/Harlequin Forest

Distorted guitar and clean vocals start this one quickly followed by the rhythm section. This has a promising start. I love the turn around fill at around 1:50. The CM returns at around 2:35 - sigh. A wonderful 12-string acoustic section follows that. Things really chill after that with sparse instrumentation and clean vocals. The rhythm section joins at around 5:15. I like the harmonized guitar parts that begin around 6:00. We get heavier around 7:20, but still clean vox so far. There is a long growl at around 8:15. Full-on CM growling begins around 8:40. I don't know why that vocal style bothers me so much, but it ruins songs (or at least sections of them) for me that I might otherwise love. There is so much good happening here, I don't know why they feel it's necessary. There is a cool "Morse Code" type of riff (albeit at a moderate tempo) as the song ends.

Track 6 - Hours of Wealth

This is the one that I have indicated that I heard and liked before, but I can't say I really remember it. Let's see if I agree with my past self.

We begin with clean electric guitar parts. Flute mellotron sounds join in. Things are slowly building in terms of dynamic level. Clean voice with sparse instrumentation begins at 2:30. His voice here reminds me of Greg Lake & John Wetton. Following that is a nice bluesy guitar solo. Simple song, but I like it, still.

Track 7 - The Grand Conjuration

This one reminds me of Dream Theater in the intro. Tight heavy playing. Then things drop down and clean vocals come in at around 1:20. There is an excellent roto-tom fill, very similar to what Alan White plays in "Does it Really Happen," on Drama. Unfortunately, it heralds the return of the CM at just after 2 minutes. Luckily, he doesn't stay long. Well, fooled me, after a few lines of clean singing he returns. A fantastic guitar solo takes over at 3:30. He comes back afterward. Things cool down for a few seconds at around 5:10, then some very fast playing happens. The CM will not be defeated in this one; he keeps coming back. There is a really cool riff at around 6:40. Then at 7:15 there is a low keyboard & vocal part that reminds me of Porcupine Tree (Steven Wilson did not produce this one, though). Things jump back up in intensity at 8:35. There is a cool gothic choir sound as we approach the ending. There are growls along with it, but not too prominent.

Track 8 - Isolation Years

We close with the shortest track on the album at under 4 minutes. Clean, arpeggiated electric guitar starts us off here, joined by clean lead guitar. Nice clean vocals join in, along with drum accents. I love the sound here on the choruses. It's almost Moody Blues-esque. Big mellotrons and lush guitars with the vocals. Might be my favorite from the album, but it seems to stop as soon as it gets going.

OVERALL IMPRESSIONS:

As I have said before, I have mega-respect for Akerfeldt & company. They are super-talented. I just wish they'd leave the gimmicky growling behind. IMO the music suffers for it. It distracts from so many other good things that are happening. They'd probably contend with Dream Theater for my favorite Prog-Metal band, if it weren't for that. I am thankful though that the CM growls are dispersed and not constant. I can tolerate it in short bursts like they do here, even though I don't really enjoy it. I gave the 2 previous Opeth albums I've reviewed a 4 out of 5 for Damnation (as I recall, there weren't any CM vocals there) and 3 out of 5 for Still Life (which had an abundance of them). I think I'll split the difference and give this one a 3.5 out of 5.

Clicking 3, but really 3.5.

So I am a big fat "0" on this one. I've heard nothing from it. Just hoping that the vocals don't go into "growl" territory too often. I know Opeth CAN go there, but also know that they are pretty diverse. Mikael Åkerfeldt is a very talented guy. Let's give it a listen.

Track 1 - The Moor

We start with a slow, mellow, intro that fades in for about the first 2 minutes of the song, before going to a different mellow acoustic guitar driven section. The heavy guitar and the rest of the band kicks in at around 2:30. A nice heavy riff repeats for a while. And yep, here's the "Growl?" I love the music and hate the vocal tone. Why?!!!??? Nice harmony vocals begin around the 5-minute mark, so far, the quality of the music has made the growling vocals tolerable, as they have returned after the guitar solo. Opeth's music has SO much going for it, and I know a lot of people like the growling vocal tone, but they would appeal to so many more if they didn't have this aspect. The previous Opeth album that we listened to (Damnation) does not go there and I quite enjoyed it. There is a beautiful mellow section starting sometime around 9 minutes in. But the growl returns yet again at around 10:30.

Track 2 - Godhead's Lament

We begin with a fast-tempo 6-8 riff?. And more growling. Again, music fantastic?Vocals horrid. I love the harmonized guitar leads at around 3:00. Then nice singing begins around 3:30. There is a beautiful instrumental section following that, with acoustic guitar in the mix, then the good singing returns. We get heavier again at around 6:00. Then the growling resumes around 7:00. A really cool odd-metered section starts around 7:30, only to be ruined by the demonic voice. Good singing at 9:00, then the growl returns for the ending.

Track 3 - Benighted

This one starts with a nice acoustic part. At 5:00 it is the shortest track on the album. Wonderful singing joins the acoustic at around 1:30. The rhythm section joins around 3:15?. This is a nice respite from the growling.

Track 4 - Moonlapse Vertigo

A nice heavy riff kicks off the festivities with sustained lead guitar over top. Excellent 6-8 feel. At around 2:00, the electric guitars drop out and are replaced with acoustic guitars and good vocals. But the growl returns at about 2:40?.Thankfully, the real singing returns not long after. The riffs are SOOO good, I'd love to hear just the instrumental tracks without the growling that keeps returning. There is even a clean "funky" guitar fill at around 5:00. Nice guitar solo at around 5:30. Then it returns?. sigh. Excellent harmony vocals around 7:15?. I would have LOVED that track if it weren't for the growling parts.

Track 5 - Face of Melinda

A laid-back groove starts us off here with a mix of clean acoustic & electric guitars and the rhythm section. Mellow vocals join in. The music is somewhat haunting. Things stay mellow until around 4:25 when power chords kick in... WHAM! The vocals remain clean though, thankfully. We go mellow again around 6:40, temporarily, as awesome harmonized guitar parts join in soon after for the fade out. Probably my favorite track from the album, so far.

Track 6 - Serenity Painted Death

A short drum fill leads the band into a power metal type of groove. But then the growling returns. Again, the music is good, the vocals are horrid. The groove changes to an almost Van Halen style riff with the grow vocals over top. The groove turns to an odd meter section/guitar solo. Alice In Chains harmony style vocals enter at around 3:40. An acoustic driven section begins at around 4:25 with changing meters. One of the guitar parts has a cool phasing thing happening. But then it's disrupted by the demon-singing at around 5:45. Clean vocals return at around 7:00. He has a great singing voice when he uses it. But then he switches back at around 7:45. Then we drop down to clean electric & acoustic guitars for the closing section.

Track 7 - White Cluster

Big distorted open chords and double bass-drums start us off and of course the growling comes back. The guitar riffs are awesome. There are some Kings-X style chords around 1:45 then things calm down and clean vocals return with a softer, rhythmic acoustic riff under the singing. An excellent vocal harmony part follows. The music is great as the intensity builds back up around 3:45. Things drop WAY down at around 5:00 then a big riff comes in around 5:30, but of course, we get a Scream/Growl over that. A cool guitar-solo and riff follows that. Clean vocals return in a more subdued section at around 7:00. Mikael Åkerfeldt is a great guitarist and wonderful singer; I wish he didn't feel the need to growl so often. There is a false ending shortly after 9:00, followed by a brief mellow guitar part.

OVERALL IMPRESSION:

If you've gotten this far, I'm sure you can guess. I would have absolutely loved this album if it wasn't for the demon- growl vocals (BTW I have no religious connotations here, it's just the best description I can give.) Instrumentally, it is fantastic. When he sings in a clean tone, it's great. But 5 of the 7 tracks are disrupted by that awful sound. Call me a boomer (which I'm not?Gen X) if you like. Maybe my tastes aren't up to date enough, but that sound is a major flaw in an otherwise great album. Fortunately, they are not all of the time, and the music is strong enough that I am able to tolerate it when it happens. This might have been 4 out of 5 stars. But because of the growl, I can't go above 3 out of 5.

Going into this one I'd say I have very limited knowledge of the songs on it. I had "loved" some of the tracks on Apple Music (Death Whispered a Lullaby and Hope Leaves) , so I've at least heard a few of them. Also, it is my understanding that this album was intended to show that Opeth was not strictly prog-METAL, but could also do a non-metal style of prog. Steven Wilson of Porcupine Tree (and so much more) co-produced the album with the band and plays keyboards. He and Mikael Åkerfeldt have collaborated before and since this album. We just discussed their Storm Corrosion album recently.

Without further ado, onto the music!

Track 1 - Windowpane

The album opens with clean electric guitar, which is soon joined by drums & bass in an odd meter pattern. Mikael Åkerfeldt joins in with clean vocals followed by lead, slightly distorted guitar. Wilson has also joined in on mellotron. The track is slowly but surely building as it goes along. We go into a different groove after a drum break at around 3:45. Excellent musicianship all around. It doesn't quite have a 70s feel to me, but quite good.

Track 2 - In My Time of Need.

This one also starts with clean electric guitar, but in a more arpeggiated way. The rhythm section joins in setting up an odd meter (I promise it sounds different from the first song). But when the vocals come in, they are singing in a staccato pattern that creates a poly-rhythmic tension against the instruments. Quite well done. The chorus opens up with mellotron and smoother vocal melodies. Mikael Åkerfeldt's vocals are quite nice. The chorus and bridge sections are beginning to remind me of Moody Blues songs with Wilson's heavy use of mellotron. Really enjoying this!

Track 3 - Death Whispered a Lullaby

An acoustic guitar pattern starts this one off. The band kicks in at the start of the chorus after a sparse first verse. This song seems more in 4/4 but with highly syncopated rhythms. The rhythm changes 3 minutes in for a guitar solo, before returning like the intro afterward. I am noticing that most of the album thus far has not had very dense instrumentation, but it sounds full. Each of the instruments has room to breathe. Wilson and the band have given the production a very open, warm, organic sound. At 4:48, the song abruptly shifts into a more intense sound. Wilson is using the vintage-sounding keyboards to a nice effect along with Åkerfeldt's lead guitar effects to close out the song.

Track 4 - Closure

12-string acoustic and vocals begins this one at around 0:44 the vocal effects give a sound that would not be out of place on a PT (Porcupine Tree) album. After that the band kicks in around a complex guitar riff. A bit of King Crimson influence to my ears. Excellent arrangement with distorted sustained chords coming in until the crescendo gives way to a sudden softer acoustic and vocal section. The vocal harmonies at around 3:25 give PT vibes again (Lips of Ashes). We get a bit of a North African (Moroccan?) feel after this. Outstanding track, probably my favorite, so far.

This song ends abruptly and goes immediately into?

Track 5 - Hope Leaves

?which has a completely different feel. This one also begins with quiet electric guitar, and vocals with effects on them. The rhythm section joins in with the second verse and the voice effect goes away. A nice contrasting instrumental section takes place before the next verse. This track, while very good, seems less complex than the preceding tracks. Maybe a mid-album breather? We shall see what follows.

Track 6 - To Rid the Disease

Again, we start with clean electric guitar and vocals. Then the rhythm section joins in. (I am sensing a theme.) More mellotron follows in the second verse. Every song sounds different, but the arranging choices are a bit similar. Nice guitar solo at around 3:45. Then ?PIANO! First time I've noticed piano. A nice proggy instrumental break develops off of the 3/4 piano pattern to close the song.

Track 7 - Ending Credits

A slow fade in, with the whole band right from the start. The band settles into a nice groove for Åkerfeldt to solo over, with the mellotron making an appearance as he plays. Thinking this one might be an instrumental. Nice harmony guitar leads after 2:35. It is indeed an instrumental?

Track 8 - Weakness

This time we begin with keyboards. It's giving me Led Zep- No Quarter vives. Effect on the voice. After a verse, a mellow guitar line joins in. Remaining mellow, no bass and drums yet. Keep feeling it's going to open up?but it never does. Kind of an anticlimactic ending to a strong album.

OVERALL IMPRESSIONS:

A very strong album that kind of let me down at the last track. The first several songs share a similar formula, but they don't necessarily suffer from it. Definitely not a metal moment on the album. I'm guessing back in 2003, some Opeth fans were disappointed in the lack of heaviness. I'm not though. I rather enjoyed it. I'll give it a 4/5 stars.

Review Nº 807

Opeth was formed as a death metal band in 1990 in Stockholm, Sweden. The band signed with their first record deal with Candlelight Records in 1994. Inside this record label, Opeth released their first three studio albums, "Orchid" from 1995, "Morningrise" from 1996 and "My Arms, Your Hearse" from 1998. "Orchid" tested the boundaries of the traditional death metal, featuring acoustic guitars, piano and also some clean vocals. With only five songs, but lasting 66 minutes, "Morningrise" features Opeth's longest song, the twenty-minute "Black Rose Immortal". This album was a huge successful work. "My Arms, Your Hearse" was released as Opeth's first international release. This was the album that marked the beginning of a shift in the band's sound. All of them are worthwhile albums in their own right, none having any major production shortcomings or stylistic differences when compared together. They represent Opeth's era of longer songs, acoustic interludes, and progressive innovation from the melodic death metal. So, it was with great pleasure when I saw that those three works were released together in 2009 on its vinyl versions on "The Wooden Box".

As I've already reviewed these three albums previously and individually on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them as extensively as I made before, but I'm only going to make a global appreciation of them.

"Orchid": I confess that I expected a much weaker album according to the ratings on Progarchives. But, it seems I was wrong. It's true that "Orchid" isn't a perfect album but it's a very solid album, especially for a debut from a new band trying out an original music style. Although maybe not as well executed as some of their later albums, but definitely has earned its place in the progressive metal history. "Orchid" still shows all the great characteristics that would come to the forefront on such mammoth albums as "Still Life", "Blackwater Park", and "Ghost Reveries". It's very well executed through an interesting and highly sensitive musical style that its creators used to explore both musicality and emotion. There's a large world to roam and plenty of parts that you'll be surprised to remember without too much effort. Each Opeth release is considered a classic in the eyes of many that also believe this band not yet released a weak album.

"Morningrise": "Morninrise" is, in many ways, one of their darkest and most captivating albums. It's a transitional album, one of learning and experimenting, but it still remains a pleasure to listen to. The music is full of intricate melodies and sounds that are best enjoyed by shutting your eyes in order to take into account the complexities and the outstanding poetry through the lyrics. It's true that "Morningrise", as its predecessor "Orchid", has a raw and dry sound compared to the band's later efforts. I, however, believe this is all intentional to help create the dark atmosphere on this album, which is simply unique. Certainly this isn't Opeth's best album overall, but it definitely is very good. It displays all of their signature characteristics well. It's an incredible and diverse album and, while it isn't for every prog fan, I would recommend it to an open minded proghead. Still, I recommend start with "Still Life" and "Blackwater Park".

"My Arms, Your Hearse": With this release Opeth keeps write songs which take the best elements from any number of metal subcategories, and blend them seamlessly, as if they were meant to be used that way all along. Here we have black metal tremolo picking and sinister death growl vocals counterpointed against clean and compelling narrative, atmospheric chord and elegantly composed lead melody lines which slowly weave a framework to these lengthy and wonderful songs. Opeth is the living proof that all things work to the great of the intelligent songwriter. In a musical climate filled with imitators and endless reiterations, Opeth is an island unto themselves with an amazing display of songwriting and musicianship. "My Arms, Your Hearse" is clearly an album that stands out among its peers. Although it would be later topped by "Still Life", it has a unique atmosphere and serves as a great testimony of their earlier works.

Conclusion: "The Wooden Box" is the counterpart of other box set released by Opeth "The Candlelight Years" released in 2008 with CD versions. We have on "The Wooden Box" 6 vinyls LP's, a limited edition and is numbered. As happened with "The Candlelight Years", "The Wooden Box" has also four bonus tracks, the 1992's "Into The Frost Of Winter", which later became "Advent", "Eternal Soul Torture" that is a demo recorded at the time of the "Morningrise" sessions and two cover versions, "Circle Of The Tyrant" of Celtic Frost and Iron Maiden's "Remember Tomorrow" as two tribute samplers. But, there are still some slightly "technical annoyances": The discs are hard to get out of the box and they don't have their original visual. Fortunately, the box is not full, so they are not squished in it. But, apart that, "The Wooden Box" is an amazing purchase and an excellent addition, especially for all who prefer the vinyl versions.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 801

Opeth is a progressive metal band from Stockholm, Sweden, formed in 1990. The band's works are characterized by the contrast that arises between the lighter elements of guitar, singing and jazz, combined with the aggressiveness of death metal. In addition to the peculiarities that make the band's sound unique, the themes are focused on dark aspects of human subjectivity, such as anguish, fear, remorse and suffering present in more sentimental and melancholic musical genres. Their vocalist and main guitarist is Mikael Åkerfeldt, who constantly changes between growls and clean vocals.

So, "My Arms, Your Hearse" is the third studio album of Opeth and that was released in 1998. The line up on "My Arms, Your Hearse" is Mikael Akerfeldt (lead vocals, electric and acoustic 6 and 12-string guitars, bass and piano), Peter Lindgren (guitars) and Martin Lopez (drums and percussion). "My Arms, Your Hearse" had also the participation of Fredrik Nordstrom (Hammond organ), Johan De Farfalla (bass) and Anders Nordin (drums), as guest musicians.

With their third release, Opeth created a powerful and dazzling death metal work. But it would be unfair to attribute Opeth's music to the death metal. One of the important points is that acoustic parts are so incredible that each song is worth any other "pure" death metal album. As a result, you don't need to be interested in death metal to enjoy Opeth. I'm not particularly fond of death metal however that band is now one of my favourite. This release is a great musical step for the band as the recording is better than on "Orchid" and "Morningrise". Every song is a must. It's a great work.

"My Arms, Your Hearse" has nine tracks. The album opens with "Prologue", which, as the name suggests, builds up some nice atmosphere with rain and some piano. It only serves as an appetizer reminding you about the mystifying theme of the album. "April Ethereal" has some nice acoustic interludes and clean vocals. It launches the album into full fury. Mikhael's growls are truly terrifying and the pounding riffs only serve to heighten that fact, but they manage to be memorable, from its technical to the melodic sections. This song single handedly proves that all grandiose plans of making progressive and technical metal worth nothing if you don't know squat about songwriting. And Opeth definitely have the talent of songwriting. "When" is a prototypical Opeth's song with lush, clean guitar tones subside into a brutal riff that then settle down. Layers of acoustic guitars blend with distorted electric guitar to dazzling effect. The rhythms are relatively simple but everything sounds seamless, and there is some heroic, melodic soloing. The song is exquisite. This is probably the lighter song on the album, although there is much intensity to be found here. "Madrigal" is a kind of a short "intermission" and builds up into the next song. It's a superb acoustic intro for "The Amen Corner", despite being one of the weaker songs on the album. It's simple but nice. "The Amen Corner" is a highly melodic song despite keeps the flag of brutality flying high yet again. It does have a crazy cool opening section that is catchy. This song showcases what the norm for the clean vocals would become on future songs. This song captivates its audience, especially with the acoustic breakdown in the middle of it. "Demon Of The Fall" is heavy, even with some layered distorted growls to add to the vocals a "demonic" feel. The acoustics interludes are awesome, and the end is extremely well done. Even this quite powerful song still relies on the prog Opeth's style, rather than standard death metal riffs. "Credence" is a ballad that features entirely clean guitars and vocals. Instrumentally this is truly a marvel, from the disconcerting introduction to the soft passages that appear during the course of the song to that sad ending. "Karma" has some crushing heaviness complimented by very long acoustic sections. It has one of the best acoustic sections on the album. It's consistent and it has a great riff near the beginning of the song which sets the stage for the rest of the song. It's a great song to start an end to the album. "Epilogue" appears as a melancholic closing with some touches of blues and progressive rock from past decades, giving the album a nostalgic air. This is an instrumental song with quite simple instrumentation but really beautiful. It's a nice emotional close, an excellent way to end one of their great works.

Conclusion: With "My Arms, Your Hearse", Opeth keeps write songs which take the best elements from any number of metal subcategories, and blend them seamlessly, as if they were meant to be used that way all along. Here we have black metal tremolo picking and sinister death growl vocals counterpointed against clean and compelling narrative, atmospheric chord and elegantly composed lead melody lines which slowly weave a framework to these lengthy and wonderful songs. Opeth are the living proof that all things work to the good of the intelligent songwriter. In a musical climate filled with imitators and endless reiterations, Opeth is an island unto themselves with an amazing display of songwriting and musicianship. "My Arms, Your Hearse" is clearly an album that stands out among its peers. Although it would be later topped by "Still Life", it has a unique atmosphere and serves as a great testimony of their earlier works.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 788

Opeth is a progressive metal band that was formed in 1990 in Huddinge, a small town south of Stockholm. The name Opeth is a reference to the book "Sunbird" by Wilbur Smith. Opeth have become as one of the most influential heavy metal groups in all of the Northern Europe. Though their musical beginning was firmly rooted in the death metal, as can be seen especially on their three first studio albums, the albums that were released by the Candlelight Records, they were already threading many progressive elements into their music, like some acoustic instrumentation and influences from several musical styles, such as folk and jazz. As the band's individuals grew musically and personnel shifted, their approach and sonic palette expanded, losing practically all death metal influences getting closer and closer to prog.

So, "Morningrise" is the second studio album of Opeth and that was released in 1996. The line up on "Morningrise" is Mikael Akerfeldt (lead vocals, electric and acoustic guitars), Peter Lindgren (electric and acoustic guitars), Johan De Farfalla (backing vocals, fretless bass and 6-string bass) and Anders Nordin (drums and percussion). "Morningrise" had also the participation of another musician, Stefan Guteklint (bass), as a guest.

"Morningrise" is considered to be an iconic album for death and prog metal fans, but the word iconic also applies to Opeth's history, because it certainly gave them that boost of popularity in the underground metal scene of the 90's. The first of a long line of great albums by Opeth was released following their debut "Orchid" the year before. "Morningrise" is often regarded as the defining album for the band with a diverse range of sounds. It's an epic album full of epic songs, with elements of death metal and acoustic blues to mix things up. On "Morningrise" we can say every songs are long, the shortest has 10 minutes. Don't expect a chorus or melodies to sing along with, but just the music and the atmosphere it leaves. It's first progressive, not only for the song structure but the technicality of each of the band's members. You can find no weak points here because there isn't an instrument that shines more than the others. The music is, either heavy, with growls, or acoustic with clean voices. It isn't too much fast but there are some great riffs.

"Morningrise" has five tracks. "Advent" is a wonderful opener with the typical Opeth's soft-to-heavy transitions. It's an excellent example of Opeth's hallmark blending techniques with its soft passages and an interesting groove that is interspersed between death metal riffs and growling vocals. The song follows the typical high-low pattern of their songs by transitioning fluidly from aggressive metal energy to folk acoustic guitar. The melodies, both on this song and the entire album, are immortal. "The Night And The Silent Water" is a great track with some amazing harmonies and a cascading ending. It runs all the way through its length with a mournful and contemplative feel befitting its melancholic subject matter. It's heavy but later gives way to some sad sounding material. When the clean vocals come in, you can hear that Mikael croons over the loss of his grandfather during some of the most heartfelt acoustic passages in the bands history. "Nectar" is closely similar to "Advent" in style, though not in its structure. It begins with a much more aggressive riff and follows a path of anger through the emotionally tortured lyrics up to a truly epic peak at the end of the song. We are presented to a staggering twin guitar harmony during the middle of the song. It's almost shocking how many riffs Opeth are using into their songs. They literally employ tens of changing riff patterns and incomparable melodies on a single track. "Black Rose Immortal" is the magnum opus of the album. It's a twenty minutes long epic in every sense of the word, and definitely one of Opeth's best songs. It has brilliant moments with great mix between the calm and strong parts. The melodies here are amazing, and the lyrics are indubitably the best Mikael has ever penned. It deserves a place of honor in Opeth's career. "To Bid You Farewell" is the mellow song on the album. It's sung in all clean vocals and contains finger picked acoustic melodies and touches on elements of jazz, folk, rock and even a blues guitar solo. This is a relaxing song and a great closing track. It's one of the best closing songs on any Opeth's album.

Conclusion: "Morningrise" is in many ways one of their darkest and most captivating albums. It's a transitional album, one of learning and experimenting, but it still remains a pleasure to listen to. The music is full of intricate melodies and sounds that are best enjoyed by shutting your eyes in order to take into account the complexities and the outstanding poetry through the lyrics. It's true that "Morningrise", as its predecessor "Orchid", has a raw and dry sound compared to the band's later efforts. I, however, believe this is all intentional to help create the dark atmosphere on this album, which is simply unique. Certainly this isn't Opeth's best album overall, but it definitely is very good. It displays all of their signature characteristics well. It's an incredible and diverse album and, while it isn't for every prog fan, I would recommend it to any open-minded proghead. Besides, until this moment, I still haven't found one weak album of Opeth.

Prog is my Ferrari. Jem Godfrey (Frost*)