Opeth’s twelfth studio album is one of the most anticipated metal albums of the year, although it is a prog rock album. With their last three releases (Heritage, Pale Communion and the newest one Sorceress), it is obvious that Opeth can not be considered as a death metal band anymore, at least when it comes to studio records. And it’s a good thing. It came out of a need.
After several magnificent progressive death metal albums, the head of the band Mikael Akerfeldt decided to create an impressive prog rock. Truth to be told, the genre was omnipresent on their earlier releases as well. Now, metal expression sparks only occasionally. It would be redundant for a man who knows how to sing to use growl vocals. During live performances, everything is as it was. Setlists are made of songs from the debut Orchid all the way to the latest releases. No one is left hungry for more.
The new album is recorded in the famous Rockfield studio under the supervision of Tom Dalgety’s production. The songs were written over a period of just a couple of months, supposedly under a deadline. Time frame was fertile for Akerfeldt’s creative core. What emerged as the final product is the best metal progressive rock album of the year. Opeth never disappoints. Taking a look at their discography leaves no blindspot.
Sorceress is a step forward in music experimentation. Exploring song structure still excites Akerfeldt, and it leaves us as listeners exuberant. Persephone opens the album with classic guitars and female narration. Following title track reveals the warmth of brilliant production, diversity in style and Akerfeld’s cunning lyric. The song invites you to be focused.
Recipe for progressive anthology continues on every song. Creative solutions for prog expression are inspiring. The songs are shorter, but richer. Melodies are accentuated, and the play is charming. The band is experienced, so every solo section sounds highly professional.
Will O The Whisp bring acoustic guitar to the table. Vocal lines and simple Akesson’s solo make it one of the best tracks on the album. The Seventh Sojourn is a super powerful number woven in Eastern melos, colored with semi-instrumental. It is certainly top notch Opeth arrangement.
Era closes the album in an explosive manner. It also includes short piano section from Persephone, so the whole story gets it closure. In my opinion, this is the heyday of Opeth.
