Forbidden Myth is a band put together by keyboard player Antonis Adelfidis who is proud to state there are no guitars or bass guitars on this album, which is instead the product of Adelfis (acoustic & electric pianos, Hammond organ, combo organs, Mellotron, Hohner clavinet, digital & analogue synthesizers, Rheem Kee bass), George Katsanos (acoustic & electric pianos, combo organs, digital & analogue synthesizers, vibradoneon, theremin), pianist Nikos Aravanis and drummer The Swede along with eight singers who play the different roles in the world of Zantea, based on a story by Myrto Gregoriadi.

Somehow, the Heavy Prog team on PA have decided that is the right genre for the band to be included, which seems somewhat strange given there are no guitars. Mind you, there is plenty of bass from the Rheem Kee Bass which was one of the first monophonic string bass emulators ? it is only possible to play one note at a time, as if more than one note is played then only the highest one will be heard. I presume this is an emulator given there are so few of these instruments around, but it certainly does not sound as if it is 60 years old. There is quite a dated feel to the album, with plenty of Atomic Rooster influences, and if someone said this was from the Seventies that would be quite believable. It certainly never comes across as a mostly keyboard album, as many of the lines are being interwoven in a way which sounds much more like a band, and in some ways is somewhat reminiscent of Death Organ who released a couple of very enjoyable albums in the Nineties.

What does let this down somewhat is the production and the quality of the vocals, as at the end of the day I listen for music for enjoyment not to recognise how clever it is. The Swede (whoever he is), is a fine drummer and he has an approach which often cuts through the layers to give real cut through, but I cannot help but wonder what would have happened if this had involved someone like Clive Nolan as in many ways it feels like one of his ensemble projects yet without that touch which takes it to the next level.

It is certainly an impressive understanding, and at more than 100 minutes in length there is a lot here to take in with the classic story of good v evil. The booklet details not only the lyrics but who is singing and the plot behind the song, and I am not sure if this is included in the digital version but certainly adds to the understanding. It is quite an epic for a debut.

Growing up, I loved bands like Yes, Genesis and Kansas. More recently, I have discovered other great keyboard- centric progressive rock bands like Glass Hammer and Magenta. I'm thrilled to now add Oddleaf to this select list of elite bands.

Carina Taurer's compositions and keyboard playing are exceptional. Mathieu Rossi is a great flute player, although I wouldn't mind hearing more real flute and less e-flute. The instrumental flute and keyboard section on "Back In Time" is my favorite moment on the album. It should have lasted MUCH longer. Drums, bass and vocals are solid.

Carina's compositional superpower is constantly shifting time signatures within each song. 6/8, 7/8, 11/8, they are all there. The band is tight, and up to the challenge. Consistently good throughout. Easily my favorite album of 2024.

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!!

— First review of this album —

A Swarm of the Sun, a sound on post-rock, soft and hard, slow and fast, passing from one to the other over time; a hardcore rock with heavy and gripping crescendos. Smells of Godspeed You! Black Emperor, Sigur Ros, Cult Of Luna, Caspian and Solstafir.

'This Will End In Fire' for the liturgical crescendo, the bewitched voice, the progressive momentum that takes time to make us reach the firmament, an appetizer that flirts with Mono, Godspeed You and God is an Astronaut, full of Gods to reach the celestial. 'Heathen' follows, sounds elsewhere taking the time to settle, the rise is slower, solemn, on a fragile piano, Jakob using his vocal timbre like Jón of Sigur Ros as an instrument; it is the catalyst moment for the explosion of pads and post-typed guitars, leading to the musical mystical ether. A new world with the final trombone. 'The Pyre' for the funeral march with airy drums, in the third the guitars start moving on an emphatic, enjoyable, explosive rhythm, all in softness. The air vibrates, saturates, contracts, the pads are cut off for the apocalyptic finale.

'An Empire' for the perfect eponymous title, the solemn crescendic rise with the piano and the voice, recalling Sigur Ros for the calm beach which literally explodes in the second part in a deliberate cacophony. 'The Burning Wall' changes tempo, fast, louder and aggressive, leading with the use of varied instruments, an infernal musical Mr Cadbury making the speakers vibrate. 'Anthem' seven minutes will be the time to hear Jakob; before it was an oppressive atmosphere, a slow post rock derivation where instruments such as musical saw, organ and trombone were put in the spotlight. The title that reminds us that not every band can claim to be prog, that it takes listening time like here. The dreamlike crescendo is Dantesque in its duration and would not have had the same depth if it had been shorter; in short, an elegiac composition allowing us to be on first-name terms with those above.

A Swarm of the Sun offered a devastating symphony, a mixture of beautiful melancholic rises; pipe organ, trombone, synths and a unique sound for dreamlike crescendos cut with embers, excellent in the genre. Originally on Progcensor.

'The Great Unknown' formatted intro, airy and technical, on fresh Dream Theater that doesn't take itself too seriously; synths in front and Markus with a sensual, unique voice, a good FM rock riff in the distance. The guitar and keyboard solos including a vintage one that follow one another, perfect with this aggressive, heady riff and this progressive variation. 'Ghost Veil' fusion of Dream Theater and a Metallica ballad, Erik's keyboards very Rudessian. The dark tone rises, the syncopated rhythm prints a very pleasant ersatzian sound, fresher and younger than Dream Theater, astonishing. Markus with a high vocal, the swirling keyboard recalling 'Pull me Under'; wet outro. 'V23' launches, big symphonic piano intro, the eclectic keyboard on a typical airy ballad; a radio edit for the easily accessible consensual title with violins smelling of purple marshmallow; outro laughing seagull plunging 'Underwater' into an aquatic arpeggio intro; the keyboards, drums, nervous riff, to recalibrate and give pep. Nervous vocals, on Symphony X then Opeth for the growl voice; calm break redefining their musical creative facilities with a divine guitar solo from Luca. The final crescendo recalls the great hours of the best of Dream Theater without outrageously copying them.

'Mind Flayer' title gets into it with the riff, the prog metal atmosphere making reference; a catchy high voice, choirs, the metal riff, Ayreon's vintage keyboards, the intermezzo with Maciej's percussions and this guitar taken from the famous 'Seven son' by Maiden. A single with the dark outro leading to 'Black Sky: Final Frontier' in 6 parts, epic sequel to the previous album. Instrumental prog metal for 4 minutes with Exodus, an oriental atmosphere with a solo reminiscent of John Petrucci's on Arrival, a play between energetic vocals and explosive instrumentation on Architects, a magnificent cello resting in Lament seconding Markus with an ethereal voice; a thunderous muscular break to listen to, indescribable in Zero with the return of the millimetered growl and a grandiloquent cinematic finale slightly conventional on Rayons de lumière. A stack of drawers, cascading harmonies, tempo changes, effective solos and an imposing rhythmic fluidity for the epic title.

Seventh Dimension signs a major album of progressive metal eyeing Dream Theater, Symphony X, Andromeda, Opeth, Circus Maximus, Forgotten Suns and Ayreon, that makes 7. Social texts, musical images on the hope of dreaming, of traveling thanks to this immortal current. An essential album for anyone who loves progressive metal, which I didn't know before this review, shame on me. Excellent. (4.5). Originally on Progcensor.

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.

Weather Systems, reincarnation of Anathema, offers an atmospheric, post-rock-prog journey.

First Steps: 'Synaesthesia' energetic electro sound, the flame is there; a catchy guitar, Daniel's drums, Soraia as Lee, the killer crescendo with the raging guitar halfway through; a nostalgic piece in continuity that invites you to travel; break with the rain, the piano, having confronted this renewal on a positive spleen. 'Do Angels Sing Like Rain?' repetitive shoegaze, helping to jump; the basic melody that is imprinted with Vincent in a dream on the vocal; the explosion is close to one of the albums from the beginning of the millennium; haunting and hypnotic with an idyllic finale. 'Untouchable Part 3' as a sequel to 'Weather Systems' on the same movement up to the vocals; a sad, moving ballad, with the classical orchestration amplifying everything; sharing nostalgia and progress; the final arpeggio delivering the fatal blow. 'Ghost In The Machine' looped on a metronomic hang; the vocal duo captivates with its harmonies; the hypnotic crescendo and the final haunting guitar. 'Are You There? Part 2' from 'A Natural Disaster' comes out 20 years later, juggling on nostalgia; as much as the original screamed its fragility and emotion in an intense way, here it is a facsimile boosted by Daniel's drums.

Learning to Fly: 'Still Lake' with the crystalline piano then the velvety synth in electro ambiance; Soraia with ethereal choirs on a new-wave air of the Cure before the wickedly cathartic explosion in which Daniel makes his heavy guitar scream on the atmospheric finale. 'Take Me With You' remains in the era of the natural disaster with the typical baby noise; a nostalgic message, her favorite period? Soraia presents this intimate ballad track lit by the echoing piano; to be taken as a sequel with this feeling of floating between memories and the present. 'Ocean Without A Shore' shoegaze atmosphere, distant sounds; a vocoder smelling of 'Closer', an intimate piece before the haunting electronic departure of Riverside where the heady beat gives light in this crescendic push; the fresh and hypnotic electronic prog creates an endless musical overloop. 'The Space Between Us' with 'Biko' or even 'In Your Eyes' in the background, a real work with the ASA as a musical signature from the time when Anathema still existed; a tribal harmony completed with an atmospheric post-rock sound reinforcing dreams, the hope of a new beginning.

Weather Systems released a hypnotic album of alternative prog, '. Daniel continues the adventure by distilling sounds filled with emotion to free himself from the torments of life; an album that gains volume over the course of listening, with an impressive spleen. Originally on progcensor.

'Beach Walker' starts latent, dark and cold, a raw, raw sound reminiscent of Rival Suns, a hint of Riverside, Anathema and the Gathering, it makes a nice soup. A soft tone that swells becoming provocative, hard rock sprinkled with a crystalline piano before leaving on this plaintive flight boosted by Lars' noisy pads. 'Anhedonia' on the same plot, softness that moves in abrupt tone; a slide guitar and a clear piano without affect, as the title states. 'Binary' in an encore repetita with this dark and illuminated piano at the start, musical dichotomy; an ambient, atmospheric mid-tempo, let's note the pure, crystalline, detached sound, let's note the echo caused by this melancholic air full of emotion with the aerial spleen guitar. The feeling of listening to the title in the distance with a contained latency and the mysterious air that I found on the prog albums of Dire Straits. 'The Mind' continues, acoustic guitar on the border between the Spanish side and the US slide; the tone is meant to be bluesy with an austere violin before going on the bewitching vintage heavy air, reminiscent of solos by Lesoir. 'Walk Towards the Sun' for the dark, viscous ballad, with a rarefied atmosphere; Adrian's voice makes you shiver, the rhythm jumps and the solo swoons to provoke emotion and the desire to keep hope.

'Landwaster' robotic intro, electronic with synthetic pads that pile up; a ersatz of basic atmospheric music, a raw voice that searches for itself for a hesitant crescendo, exploding into a tribal air reminiscent of the metallic riffs of Rammstein. 'The Moment I Stopped Caring' with the vibrant acoustic guitar, again the western and the delicate air, an anathematic rock lullaby; a restful title wandering in our minds. 'Hole' as in lack, acoustic guitar and dark violin, haunting voice for the romantic-melancholic ballad. The ode to emptiness, to absence, to the need for presence, an icy melody, an energetic firebrand, an intoxicating solo supported by the classical orchestration and the intimate title of the album: magnificent. 'Plastic Animals' as a devastating finale; a long and slow deadly crescendo that bursts from everywhere, honor to Lars' arms, Adrian's fingers, Brendan's to broadcast this refined piece rising to put in a trance; an epic piece that swells and forces respect by creating frenetic; the acoustic outro symbolizing a better end that will not really take place.

Nine Stones Close releases their second act this year, with meditative lyrics about the guitarist's trauma and the same icy atmosphere as the cover. Originally on Progcensor (3.5).

Favorite Track: Close to the Edge

Favorite Moment: 16:48-17:38 in Close to the Edge. A feeling of plenitude, as one would feel when understanding the meaning of life in the final moments of the journey.

Close to the Edge is a monumental staple not only in Yes's history but also in the history of progressive rock. Frequently cataloged as one of the best albums in the genre, Yes condenses, in 37 minutes and through just three songs, the pinnacle of their virtuosity, imagination, and musical creativity. I will provide an in-depth review of my favorite track, along with shorter mentions of the others.

And You and I is a beautiful tune introduced by Howe's 12-string guitar. Packed with metaphorical lyrics, this is a much lighter piece compared to the title track. We see a great vocal contribution by Anderson in this musically rich and eclectic song that, in classic Yes style, merges various inspirations. The use of phasers and flangers gives the tune a definitive "galactic" feel. Not my favorite track in its simplicity, but definitely enjoyable and emotive.

Siberian Khatru is the bluesiest of all the tracks, opening with Howe's electric guitar. It is quick-paced, carried by Wakeman's and Squire's contributions, which lay the groundwork for Howe's higher-registered lines. Howe plays much with repetition, providing a constant element in his four-to-five-note riffs that embellish the song. In my opinion, the weakest contribution the album in creativity, but still admirable in composition.

The title track is composed of four sections, each fitting coherently while contributing its own distinct characterization to the overall piece. There is a clear classical inspiration in both structure and melody - Jon Anderson even mentions being inspired by works by Stravinsky and Sibelius. The first section, The Solid Time of Change, provides the foundation in nature and eclecticism. It begins with a compilation of running water, birds, and forest sounds, quickly overtaken by a slowly ascending keyboard chord that leads into Howe's guitar. Through the layering of all instruments in clearly independent melodic structures, the complexity of the piece is revealed. Lyrics are introduced four minutes in, shedding light on the recurring lyrical motif: "Close to the edge...," which will be repeated and varied until the grand finale. The second section, Total Mass Retain, is brief and feels more like a variation of the first section. Its lyrics - especially "All in all, the journey takes you all the way - as we cross from side to side, we hear the total mass retain" - reinforce the idea of a journey through nature, recognizing the sublime forces that govern it, such as the law of conservation of mass. It feels as though we are traversing Roger Dean's surreal landscape depicted on the LP cover. The third section, I Get Up, I Get Down, carries perhaps the heaviest weight in shaping the song's overall mood. Most of this section revolves around Wakeman's performance on the pipe organ at St. Giles-without-Cripplegate. This unique choice pairs the religiosity of the organ with the repeated lyrical motif of struggle and perseverance: "I get up, I get down. Finally, we reach Seasons of Man, which brings back the cacophony and multi-layered "mess" introduced in The Solid Time of Change. Here, Wakeman's virtuosity shines in an impressive solo that paves the way for a new wave of lyrics. Beginning with "The time between the notes," the section revisits the themes of the first part but with a greater sense of urgency and repetition, accentuated by Wakeman's reversed chord progression in the background. At 16:36, the journey comes to its conclusion. A powerful buildup, presented through all the instruments, climaxes with "Seasons will pass you by," followed by a beautiful final variation of "I get up, I get down." There is a sense of plenitude, a completion in the sought out existential journey constructed throughout the piece.The motif is repeated, accompanied by rich instrumentation, and the piece closes with the sounds of nature: a true cycle of life.

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 "Sins of the Father" and Joey Tempest's backing vocals on "Silent Heir," add richness without overshadowing the band's identity.

Tracks like "Bloodlines Unveiled" and "Chambers of the Unborn" exemplify 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.