THE EDITED PRESS RELEASE: “Opeth are one of the most important bands in metal music. Their unique sound and compelling storytelling made them a genre leader and highly respected artists among musicians and audiences alike. And this is their Last Will And Testament”.
Opeth’s 14th album is gripping from start to finish, jaw-dropping inside and out, representing some of the band’s finest material to date. Just as Opeth welcomed many into its distressed arms over the years, the Swedes again deliver on the promise that great music always tells a compelling story — this time with growls we had not heard since 2008’s Watershed.
Here, the band roll out the red carpet for storied flutist and Jethro Tull leader Ian Anderson. Not only do Anderson’s signature notes fly on §4 and §7, he narrates on §1, §2, §4 and §7. Joining Anderson, Europe‘s Joey Tempest lends a backing vocal hand on §2, while Åkerfeldt’s youngest daughter, Mirjam Åkerfeldt, is the disembodied voice in §1.
“So put yourself in my position for a minute: Your band has this new album,” says leader Mikael Åkerfeldt of the single §3. “You like it. In fact, you love it! It’s got this elaborate concept running through all eight songs on there. You’ve written it over the timespan of say six months, effective time. You’ve invested a lot of passion into putting it together. You’ve recorded it together with your friends/colleagues. You’ve had a good time in the process.
Photo credit: Terhi Ylimäinen
“Now, said album is on the verge of being released and you’re expected to talk about it. Prepare your audience for its coming. Talk it up! You do want people to hear it, right? You love the album so it should be easy, right? At this point, all you have to do is put together a few words for the new ‘single’. But you’re confused with the use of the term “single”, as you connect it to the olden days where ‘singles’ often had the word ‘hit’ next to it. And you know that won’t happen!
“Still you want people to hear it. Your loving ‘fans’ might think it’s awesome. But you don’t want to come across as a salesman. On top of that you’re not a complete self-absorbed asshole who thinks you’ve got the Midas touch (well...). Also you have a bad case of that inborn Swedish modesty, sprinkled with some impostor syndrome. What do you say? §3 is out now!”
The Last Will And Testament was written by Åkerfeldt, with lyrical input from Klara Rönnqvist Fors (Heard, Crucified Barbara). It was co-produced by Åkerfeldt and Stefan Boman (Ghost, Hellacopters), engineered by Boman, Joe Jones (Killing Joke, Robert Plant), and the band, with mixing at Atlantis and Hammerthorpe Studios in Stockholm. The strings on “The Last Will & Testament” were arranged by Åkerfeldt and Dave Stewart (Egg, Khan) and conducted by Stewart at Angel Studios in London. Visual artist Travis Smith returns to the fold, crafting his 11th cover, a haunting “photograph” reminiscent of Stanley Kubrick‘s infamous Overlook Hotel photograph. Miles Showell (ABBA, Queen) also revisits for mastering and vinyl lacquer cutting at Abbey Road Studios in London.”
