Opeth - The Last Will And Testament review
Band: | Opeth |
Album: | The Last Will And Testament |
Style: | Progressive metal |
Release date: | November 22, 2024 |
Guest review by: | Blackcrowe |
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04. §4
05. §5
06. §6
07. §7
08. A Story Never Told
Opeth’s Last Will.
We are first row witnesses to the evolution of bands and their music, yet sometimes, these shifts take us to places we’re not ready or willing to appreciate.
Who am I to judge the evolution of music in bands like Rush, Metallica, and Opeth, or other bands that doesn’t have the need to evolve and keep their music sounding the same over the years, like Motörhead, Iron Maiden or Slayer; neither approach is inherently right nor wrong. Everyone is free to do or not do what they want or choose where they feel more comfortable with their music.
I started to listen Opeth with Still Life; I found everything that I love about music was there, including prog metal and extreme metal. I was astonishing by the brilliant opener, "The Moor", featuring guitars that sound like a mellotron, with that chorus containing Mikael Åkerfeldt’s special nod to ABBA’s "Lay All Your Love On Me." Still Life is Opeth’s masterpiece, marking their first departure from a purely death metal sound.
When I first listened to Heritage, I loved it, but immediately felt that this is the definitive turning point that Åkerfeldt’s looking for away from their older style. Heritage is a heavy prog record infused with the sound of classic prog bands like King Crimson or Änglagård.
The Last Will And Testament combines Opeth’s intricate musicianship with a concept that tells the story of a wealthy patriarchal family and the aftermath of their sins during World War I. The album’s intense moments seamlessly blend with beautiful melodies and haunting atmospheric textures, transporting the listener to another time. Guest musicians - such as Ian Anderson of Jethro Tull (flute and narrator), Dave Stewart, the genius pioneer of the Canterbury prog scene Hatfield And The North and Egg (strings and orchestral arrangements), Joey Tempest of Europe (backing vocals), and Mia Westlund (who delivers an outstanding performance on the harp) - make significant contributions to the final sound of The Last Will And Testament.
The Last Will And Testament is Opeth’s “magnum opus”. Åkerfeldt delivers his best composition and his best guitar work ever. The riffs shift between heavy and soft, creating a perfect balance. Every member of the band, including Martin Mendez (bass), Fredrik Åkesson (guitar), Joakim Svalberg (keyboards), and the new guy Waltteri Väyrynen (drums), has pushed themselves beyond their limits to make the band sound like it never has before.
The production, handled by Mikael Åkerfeldt, Stefan Boman, and Dave Stewart, has exceptional sonority, achieving a pristine balance between the obscure, the old, and the modern—perhaps owing to the fact that the record was mastered at Abbey Road Studios.
The Last Will And Testament marks the definitive end of the Opeth that many fans nostalgically hope will one day return. At the same time, it establishes the band as a fully transformed entity.
Opeth find their trail and definition after Heritage, but in The Last Will And Testament, Opeth found their sound they were looking for after years of experimenting.
Rating breakdown
Performance: | 9 |
Songwriting: | 9 |
Originality: | 7 |
Production: | 10 |
Written by Blackcrowe | 15.12.2024
Guest review disclaimer:
This is a guest review, which means it does not necessarily represent the point of view of the MS Staff.
This is a guest review, which means it does not necessarily represent the point of view of the MS Staff.
Rating:
7.8
7.8
Rating: 7.8 |
Has there ever been so much fervour and anticipation ahead of an album’s release due to a change in vocal style when there’s not been a change in vocalist? Opeth’s move away from growling caused an alarming schism in the band’s fanbase, but those growls’ return may not herald what those lost along the way were expecting. Read more ›› |
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