Who would have guessed a few years ago that in 2024 we would witness such a magnificent series of great moments in metal as the ones we have seen just recently? GOJIRA played at the opening ceremony of the Olympic games, Mike Portnoy is back in the ranks of DREAM THEATER, and OPETH is bringing the growls back on the menu on their upcoming album announced to be released in October via their new label Reigning Phoenix Music. Apparently, the recent OPETH live shows with all those old bangers in the setlist have been foreboding in a lovely, spine-chilling way. Let’s just hope that the album title, “The Last Will & Testament” is not. The new album is said to be a concept affair set in the post-World War I era, narrating the story of a wealthy, conservative patriarch whose last will and testament reveals shocking family secrets, hence the ominous title. As a teaser, OPETH released the first single entitled “§1” just a couple of days ago. Let’s hear it!
My first impression was something like, “Okay, this is In Cauda Venenum with growls? Nice!” Then, with repeated spins, I couldn’t help but think that Åkerfeldt‘s soundtrack contribution for the Netflix series, Clark, must have left an indelible mark in his signature style. I mean, OPETH has flirted with cinematic vibes before but maybe not as deeply as with their new single. Oh, I like it! I like it very much! When the first staccato riffs unfold in the song’s intro, you can tell right away that this song is going be a kick-ass prog-metal banger. There’s an ominous portamento-style motif sweeping in the background – strings, I reckon – and it further cements the cinematic atmosphere of the song. You can almost envision the story of the album unfolding with your mind’s eye, listening to the heavy riffs. Later on, despite the progressive hold getting a bit tighter with the Rhodes legatos, Mellotrons, flutes, and all, the riffs hit hard. Yeah, this is a nicely balanced mix of “Oldpeth” and “Newpeth.”
This song marks also the first studio effort featuring Waltteri Väyrynen on drums – and he does a magnificent job rolling out those groovy, progressive beats. His signature chops are perhaps a little bit more reminiscent of Martin Axenrot than Martin Lopez whose trademark drumming characterized those earlier OPETH endeavors; then again, this impression could also stem from the song in question; as his résumé shows, Väyrynen is an exceptionally versatile drummer and I can barely wait until October to hear the album in full. There are strings attached (pun intended) to the music, this time around, too. So, it is intriguing to entertain the idea that, perhaps, one day, OPETH could be performing these proggy monsters with a full-blown symphonic orchestra? In the meantime, Finns can treat themselves to a treat as the band is coming to Helsinki in February 2025. Their Tuska performance was a sublime offering of those old classics, so it will be a nice change of mood to be witnessing a set of heavy prog for a change. Judging by this teaser, the album is going to be kick-ass!
Written by Jani Lehtinen
