Band:	Opeth
Album:	Sorceress
Style:	Progressive rock
Release date:	September 30, 2016
A review by:	Daniell

Disc I
01. Persephone
02. Sorceress
03. The Wilde Flowers
04. Will O The Wisp
05. Chrysalis
06. Sorceress 2
07. The Seventh Sojourn
08. Strange Brew
09. A Fleeting Glance
10. Era
11. Persephone (Slight Return)

Disc II [limited edition bonus disc]
01. The Ward
02. Spring MCMLXXIV
03. Cusp Of Eternity [live]
04. The Drapery Falls [live]
05. Voice Of Treason [live]

When a trailblazing monster of a cult act turns into a '70s prog tribute band, there's surely going to be some backlash. Opeth have been getting loads of backlash (deserved and not) since 2011's Heritage. I have no doubt that Sorceress will be met by many with at least the same amount of hostility. Whether or not it's justified is a different story; let's see how different they are.

Variety has always been Opeth's main strength, so it's no surprise that nuanced and sometimes surprising songwriting is still present. There is so much going on within some songs that it's easy to lose track of which song is playing if your thoughts trail off for a minute. The band still can, most of the time, coalesce numerous contrasting passages into a cohesive composition ("Strange Brew", "The Wilde Flowers"). This applies to most of the long songs here, but not all of them are so masterfully crafted. The annoying beginning of "Sorceress" and the meandering ending of "The Seventh Sojourn" are the best examples of questionable composing choices.

I can't shake off the feeling that Opeth have lost some of their knack for finesse and dainty songwriting that shines so brightly on Pale Communion in songs like "Voice Of Treason" or "Faith In Others", to name a few. No song on Sorceress, however good, comes close to the adroit brilliance of the best songs from the previous release. Speaking of great songs, "Chrysalis" is a sure shot for all fans of old Opeth. Style- and mood-wise, it could easily fit on their older albums. Minus the growls, of course.

The number of progressive influences that can be heard on the album is overwhelming. Even somebody who has only fleetingly glanced at the prog scene of the 1970s will hear that the sorceress has concocted a strange brew made of numerous ingredients from that era. All those influences stick out, like all song titles that I ungracefully crammed into that last sentence.

This review would be incomplete without a word about the production. I have no idea how Opeth could let this out in the world. The sound of the bass guitar, or whatever it is that sounds so thundering, overshadows all other instruments and vocals. Everything else sounds muffled in comparison. The sorceress conjured up 56 minutes of aural suckage.

As much as I love Pale Communion and like Sorceress, I can't understand why Opeth chose to shed their unique style and don the apparel of a copycat. They are still a bunch of amazingly talented musicians, but now, instead of making their own music, they rehash ideas that are 40 years old. If for you Opeth ended on Watershed, you can give this album a miss. Just listen to "Chrysalis". Everyone else - you might be pleased, but I'm not sure you will be amazed.