Album Review: OPETH – The Last Will and Testament

In 2019, as In Cauda Venenum closed with Mikael Åkerfeldt’s powerful line, “If everything ends, is it worth to turn back home again?” it felt almost prophetic. That haunting question resonated in ways no one could predict, foreshadowing the global shifts that soon followed. The isolation years have brought Opeth to their longest gap between albums, despite their continued global touring. Yet this period also saw major changes for the Swedish band, notably the departure of drummer Martin Axenrot after 15 years. With Waltteri Väyrynen stepping in, Opeth regrouped and eventually began shaping their 14th album, The Last Will and Testament.

Reinvigorated, the band took bold steps in penning one of the most, if not the most, definite Opeth records to date. A concept record in its entirety, The Last Will and Testament is a continuation of the group’s quest for the ever progressing sound. In layman’s terms, what Opeth did here is taking elements from the different eras of their successful career and mashing them together, creating a timeless piece of art.

The Last Will and Testament – A Continuation of Opeth’s quest for the ever progressing sound

Working in the favor of the concept, which unfolds the story of a wealthy, conservative patriarch whose last will and testament reveals shocking family secret, we see a return of dearly missed growl vocals, an element that hasn’t been a part of an Opeth album since the start of last decade and the release of Heritage. With songs aptly titled as paragraphs, the band embarks on a journey filled to the brim lies, anger, betrayal and regret.

At its core, this album epitomizes what could best be described as “progressive rawness.” Fans will recognize the brutal, unfiltered sound of Opeth’s early years balanced by the sophisticated, progressive influences of their more recent albums. In this sense, The Last Will and Testament feels like a summation of Opeth’s entire journey—a layered and evolving narrative punctuated by raw power and subtle refinement.

If there are two words that best describe what Opeth is about on The Last Will and Testament, these are—progressive rawness. You will stumble upon raw, brutal passages that graced the band’s early work, which were refined around the turn of the millennium. You will also find the progressive tendencies that Åkerfeld & Co. explored further down the road with the releases starting with 2011’s Heritage. For these reasons, the new album feels like a perfect release which summarizes what the band has been, or is about. 

One of the things to highlight about The Last Will and Testament is how varied this record is as opposed to track lengths, something that guitarist Fredrik Åkesson emphasized in our interview by saying that the new album is more concise and action packed.

The Last Will and Testament – Paragraphs of Progressive Rawness

The Last Will and Testament is comprised of seven paragraphs and a closing plot-twisting song with a regular title. The opening paragraph and a lead single takes on the sound that’s been a foundation of their past four records, topped with death metal vocals. Åkerfeldt’s vocal arsenal is broadened by introduction of a theatrical voice which, on an album like this, is such a powerful weapon.

In “§2,” Ian Anderson of Jethro Tull lends a spoken passage, while Joey Tempest of Europe also makes an appearance, weaving their voices alongside the relentless instrumentation of the band’s rhythm section. The track progresses through shifting tempos and textures, with guitar and drums that never collide but build on one another to striking effect. “§3” continues the intensity, marked by relentless drumming and rapid-fire guitar work that showcases the technical prowess of the entire band. This song introduces a range of moods, bringing together visceral power and emotional depth.

“§4” blends progressive and death metal elements with (un)expected additions, such as Anderson’s voice and flute, interwoven with Åkesson’s soaring guitar solo. These touches lay down a haunting atmosphere before Åkerfeldt’s growls erupt, embodying the emotional chaos of the story’s climax.

The centerpiece of the album, “§5,” encapsulates Opeth’s fusion of aggression and atmosphere. With the addition of a string section, the song gains a warmth that amplifies the album’s tension and drama, calling to mind past tracks like “Voice of Treason” or “All Things Will Pass.” A recurring Middle Eastern motif threads through the song, tying together its varied sections.

“§6” feels like a bridge between past albums, its chaotic precision evoking Sorceress and Watershed in equal measure. Instruments resonate with clarity and purpose, refusing to let up even as the song dives into brief clean sections. “§7” sees Anderson returning with a low-register vocal that cues a suspenseful buildup, underscored by a rumbling bass line. Åkerfeldt’s ability to balance melodic ideas without rushing to resolution heightens the tension, leaving each phrase suspended.

The album’s closing track, “A Story Never Told,” stands alone with a narrative arc at its own. Simple yet profound, its quiet moments gradually rise to a powerful finale, centered around Åkerfeldt’s clean vocals and a piercing guitar solo by Åkesson that brings the album to a resonant close.

Given its musical diversity, The Last Will and Testament is quite a cohesive record. While employing many a tropes the Swedish band has come to be known for, Opeth come off sounding like no one but themselves. The album’s accessibility adds another dimension to this band’s already remarkable scope.

The Last Will and Testament is out on November 22 via Reigning Phoenix Music/Moderbolaget Records.