I have mixed feelings about the new Opeth record.  There, I said it.  The new one is called The Last Will and Testament, and while it has been hyped and praised relentlessly, I keep having to force myself to listen to it.  The album was released November 22^nd through Reigning Phoenix Music.

Opeth command the admiration of millions of music listeners, and for good reason.  They have an impeccable discography, and they don’t often bend to the will of their audience.  The current lineup includes Mikael Åkerfeldt on vocals and guitars, Fredrik Åkesson on guitars, Martin Mendez on bass, Waltteri Vayrynen on drums, and Joakim Svalberg on keys.  The album also includes Ian Anderson of Jethro Tull on spoken words and flute.

The band famously left their death metal elements behind after 2008’s Watershed, and though their fans cried for growls, no growls were to be had.  Until now.  The band also transitioned from progressive metal trappings into retro prog rock pomp, and while the band always had edge, the metal riffs were basically gone, too.  With The Last Will and Testament, the band merges their metal and rock sounds into a seamless experience.  While this isn’t their last album, I’m sure, it could be seen as a tribute to their career.

There are things I like about the album, and things that nag me.  I’ll start with what I like.  I love the lyrical concept here: it’s about a post-WWI family gathering to read the last will and testament of their wealthy father.  Present are twins and a mysterious, polio-plagued girl.  The album plays out with Ian voicing the father’s edicts and revealing some startling things about himself and the family.  I do find that the ending is predictable, but I like it nonetheless.

I also like hearing those growls again; in fact, I think they are the best part of Mikael’s vocal performance here.  I rather love the orchestrations used throughout, as they filter between eerie and cinematic.  The album is also deeply technical, and it is a marvel in that respect.  In particular, I adore new drummer Waltteri’s performance—he has such nuanced power, and some of the most musical aspects of the album are his charismatic beats.  I’m impressed with the entire band’s performance, though.

Now, there are things I don’t like so much.  First, I find the presence of the legendary dark riffs and gruff growls makes the prog rock side of the album feel quite weak.  Sometimes, it feels like we are simply waiting for the next tidal wave of heaviness to hit.  Second, the first three tracks sound very similar, and kill the momentum of the album.  They aren’t bad songs, but the basic rhythms are very “same-y” and become monotonous.  I love the single and opener “§1”, but I actually think the radio edit is the better version, and the gruff “last will and testament of father” line is probably the closest the album comes to a memorable vocal hook.  The next two tracks aren’t memorable at all; they play almost like a dull info dump in a book.  We are just trying to get through them.

For that reason, I find it difficult to get through this album.  I really like “§1”, “§4”, and the closer “A Story Never Told”, but getting to those tracks can be tedious.  I do think the album gets much stronger on “§4”; this piece features an ethereal and psychedelic interlude with Ian’s flute solo, and I absolutely love it—the contrast between that segment and the lurching heaviness around it is potent.  I do like much of tracks 5-7.  “§5” is wreathed with zany abandon and I find it really groovy.  “§6” features an astonishing drum performance, and it honestly overshadows the rest of the song.  “§7” has probably the coolest groove and riff on the album, and it being the finale of the will itself, it is super effective, especially as Waltteri lays down a purposeful and addictive beat in the last few minutes.

Of course, the best song on the album is probably the closer “A Story Never Told”.  The reason why is simple: it’s the only emotional part of the record.  Instead of being the reading of the will, it’s basically the effervescent and even tender fulfillment of one character’s dreams.  It feels like validation.  Mikael gives us some beautifully vulnerable vocals, and the song is simply beautiful and gracious. I do find the noodling guitar solo in the second half rather distracting, but the song does end well.

Look, Opeth can do no wrong for some music fans, and I get that.  This album lacks a little balance and finesse, though it isn’t bad or even average by any means.  The band has proven that they can utilize their entire toolbelt, and their performances are stunning overall.  However, I don’t feel like I’ll be listening to the entire album very often.  It’s just not that kind of record.

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