SORCERESS

The prog-rock Opeth seems here to stay, especially with Sorceress, which offers a panoply of classic progressive inspiration, performed through the down-tuned and sometimes aggressive--sometimes nostalgic--Opeth style. Will you like it? Probably. Will you love it? Maybe not this time.

Sorceress succeeds on many levels. Foremost is in its production and style. This is a masterfully produced and performed album. The instrumentalists are generally underrated in our discussions here, but their work throughout Sorceress is first-rate. Next, is the diversity in songwriting, dynamics, and nuance. There's a lot here for lovers of artistic rock to enjoy and discover. From the thick, fuzzy, bottom-heavy title track, to the gentle acoustic moments and simple accompaniments to Akerfeldt's wonderful singing voice found throughout. While there's never metal chugging-- the band gets heavy in many songs; on the flip-side, though they never breakout into a Scandinavian peasant dance--the band indulges themselves quite a bit in an eclectic combination of folk, fusion, and the lengthy spaces between highlights.

And this is sort of where Sorceress lets me down. The songwriting has a handful of outstanding moments, but it can't grab hold for its entire running time. Some songs feel like interludes, and a few like experiments that almost work. Likewise, Akerfeldt's lyrics are noticeably less interesting this time around.

If you're grooving with Opeth's musical direction, or if you love the prog classics which Opeth is taking inspiration from, then Sorceress is a worthy purchase. If you pine for the days when Akerfeldt would destroy your brain with impossibly intense metal--it's time to say goodbye to Opeth once and for all. If you're like me and think Heritage and Pale Communion are the band's best albums--Sorceress is a solid record (almost a 4-star).

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 3