Not only did we have to wait over five years since the last album release, The Last Will and Testament (2024) was also delayed by a little over a month. This was due to various production delays. In this case, it concerns the production of hardware and not the process of creating the music itself. The music production was already finished in March after the recording sessions at the prestigious Rockfield in Wales.
It has been 25 years since Opeth released their last concept album (Still Life 1999). An expression relatively common in the progressive rock / metal genre. The fact that Opeth was forced to postpone the release date can perhaps be seen as a stroke of luck, as the release now coincides with the 50th anniversary of Genesis' concept album The Lamb Lies Down on Broadway.
 |
| Travis Smith has created almost all of Opeth´s album covers |
Since the story highlights several characters, Mikael Åkerfeldt has chosen to include as many voices and even though he, as one of the most diverse singers in the genre, could have done this swimmingly on his own, we (in addition to the aforementioned Anderson) also hear the voices of Joey Tempest and Miriam Åkerfeldt (Mikael's daughter). Mia Westlund plays harp and contributes greatly in clarifying the oriental tones that appear in selected parts. Dave Stewart, who has helped Opeth arrange string parts on a number of previous recordings, does so again this time. Now we are not talking about Dave Stewart from Eurythmics but about the old British prog hero from bands such as National Health, Egg and Khan. The London Session Orchestra delivers what Stewart has arranged.
About the guest appearances on the album. Even though Mikael Åkerfeldt is Opeth's mastermind and protagonist, the remaining members are not hired musicians, as each of them has been in the band for a longer period of time. The most recent addition is Finnish drummer Waltteri Väyrynen, most recently known from Paradise Lost. It was truly a great addition! To tackle Opeth´s most musically focused album to date, technically speaking, in such an obvious and seemingly unhindered way, is an achievement that will surely make predecessors Martin Axenrot and Martin Lopez take their hats off. Even though Fredrik Åkesson's development curve is hardly pointing particularly steeply upwards anymore, at least I am keeping my fingers crossed that he is Opeth's last guitarist alongside Åkerfeldt. The same can be said for keyboardist Joakim Svalberg. The solo performances of the last two mentioned, especially in §6, deserve a little extra focus. When it comes to Opeth instrumentalists, Martin Mendez is probably closest to my heart. The bassist who has been with the band since the aforementioned album, Still Life, treats his instrument as naturally as if it were a body part. To fully experience this, it is highly recommended to take part in this ensemble live. For example, this coming February in Helsinki.
The first seven songs are titled according to the paragraphs in the will in question is read. However, the closing track has been honored with a distinctive title called A Story Never Told. A thankworthy end to an intense album and moreover a twist in the plot that perhaps would make the story to lend itself to a great stage musical? Well, probably not.
The Last Will and Testament is perhaps not Opeth's most accessible. But be patient! It grows with every listen. I promise.
Genre: Progressive rock / metal
Rating: 4.1 / 7