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Fredrik Åkesson has been a cornerstone of OPETH‘s sound for nearly two decades, playing a vital role in shaping the band’s evolution from death metal roots to progressive rock explorations. As the highly anticipated upcoming release of The Last Will and Testament approaches, OPETH find themselves once again on the brink of redefining their musical boundaries.
At the heart of The Last Will and Testament lies a concept that marks a significant departure from OPETH’s previous works. Åkesson reveals that the band is embracing a darker, more narrative-driven approach, drawing inspiration from the hit TV series Succession. “This time, we really wanted to create something that felt like a story,” Åkesson shares, reflecting on the thematic underpinnings that anchor the album’s story – a narrative rooted in familial conflict, betrayal, and greed, all set against a historical backdrop.
“On In Cauda Venenum, there was a song that touched on the subject of a will and testament,” Åkesson recalls. “We decided to go deeper this time.” The concept revolves around a wealthy, cynical patriarch who has passed away, leaving his children to grapple with the revelations in his will. “The story takes place in the 1920s, after World War I,” Åkesson explains. “In the first song, he’s already dead, and his last will and testament is read to his children during a grand banquet.” This setting not only evokes a sense of historical intrigue but also lays the groundwork for a tense familial drama.
This family drama serves as the narrative backbone for the album’s seven tracks, each titled Paragraph to represent sections of the will. “It’s definitely a darker story,” he notes, reflecting on how the album’s structure mirrors a tense family saga. The decision to title the tracks as “paragraphs” rather than traditional song names adds a layer of uniqueness to the project, further engaging the listener with its literary allusion. On whether the tracks are called “paragraphs” or “sections,” Åkesson clarifies with a laugh, “Yeah, it’s paragraph.” Despite pushback from management regarding the decision, Åkesson and Mikael Åkerfeldt remained steadfast. “We were stubborn. They wanted us to add titles in brackets, which I get, but we chose to stay true to the concept.”
The album’s structure allows for layers of secrets and hidden stories to unfold throughout the listening experience. “A lot of dark secrets get revealed to his children,” he teases, hinting at a unique aspect of the vinyl version where listeners will be able to read the testament while enjoying the music. This innovative approach not only enhances the narrative but also invites listeners to engage with the album on multiple levels, enriching their overall experience.
The setting of the 1920s, post-World War I, paints a vivid backdrop of decadence and intrigue. “Everybody’s partying,” Åkesson says, reflecting on the era’s atmosphere. The cultural and social dynamics of the time serve as an excellent contrast to the darker themes explored in the lyrics. While the concept developed early in the writing process, it continued to evolve alongside the music. “The final story and lyrics came together just before we went into the studio in February this year,” Åkesson reveals, highlighting the organic nature of their songwriting.
One notable shift in The Last Will and Testament is its darker, more intense sound—something that hasn’t gone unnoticed by fans. Åkesson acknowledges that OPETH’s previous albums took a different sonic path but emphasizes a return to something heavier with this release. “It’s common for Mikael to say, ‘this will be the darkest album ever’,” Åkesson jokes. “But I agree, this is probably the most haunted album so far, and we’re really happy about it.”
The return of growling vocals – a signature element from OPETH’s earlier works – adds to the album’s weight. “Everybody’s asking about the growls,” he says. “It felt like a natural step. The new drummer and the concept allowed for different voices. You have Mike’s clean voice, his more theatrical clean voice, and then the growls.” Fredrik is pleased to bring this back for the album. “It wasn’t just for the gimmick, it serves a purpose.”
This decision to incorporate growls came naturally, reflecting a desire to return to the band’s roots while still evolving musically. Åkesson explains that this was something that had been brewing even before writing The Last Will and Testament. He notes that discussions around growling vocals began during their last tours, as Mikael Åkerfeldt enjoyed performing the growls, particularly when revisiting older material. “The vocal interplay adds complexity and richness to an album brimming with dark, theatrical ambition,” Åkesson remarks.
Notably, the album features guest appearances from Ian Anderson of JETHRO TULL and Joey Tempest of EUROPE, both of whom add their distinctive flavours to the record. Åkesson explains that the idea of including narration was an early decision. “It’s the father speaking from the other side of the grave,” he says, emphasising the dramatic narrative thread. Anderson’s distinctive British voice complements the character perfectly. “It really gave the album more depth,” Åkesson reflects. Anderson also suggested adding a flute solo, which seamlessly integrated into the album’s soundscape.
Tempest’s involvement was more spontaneous. “Joey was at Mikael’s house for lunch, and they were hanging out,” Åkesson recounts. When Åkerfeldt realised a vocal section sounded reminiscent of Tempest’s style, he invited him to the studio. This unplanned collaboration showcases the band’s ability to adapt and incorporate diverse influences into their work.
As the release date approaches, it’s evident that OPETH are stepping boldly into a darker, more theatrical chapter of their career, fusing their progressive roots with renewed heaviness and narrative ambition. With each album, OPETH have proven their willingness to explore something new while remaining true to their identity, and The Last Will and Testament is no exception.
Reflecting on the sound of the album, Åkesson notes that it represents a shift towards a more compressed, action-packed style. “If you listen to Blackwater Park, a lot of the sections could be very long. This album is more compressed, more restless, but it has more ingredients; it’s more action-packed,” Fredrik affirms. This evolution is a testament to the band’s growth and willingness to experiment while maintaining the essence of what makes OPETH unique.
The culmination of these efforts results in an album that stands as the most definitive OPETH work to date. Åkesson’s commitment to the narrative and his guitar work shine throughout, showcasing the band’s signature blend of complexity and accessibility. The result is a richly textured sound that invites listeners to engage deeply with both the music and the story.
As the conversation wraps up, it’s clear that The Last Will and Testament is a multifaceted exploration of themes and sounds that encapsulate the band’s legacy while forging a new path. With a release date approaching, fans can eagerly anticipate the unveiling of a work that promises to deepen their appreciation for OPETH’s remarkable journey. The excitement surrounding The Last Will and Testament is palpable, and it is certain to leave a lasting impression on both loyal fans and newcomers alike.
The Last Will and Testament is out now via Reigning Phoenix Music. View this interview, alongside dozens of other killer bands, in glorious print magazine fashion in DS115 here:
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The post Opeth: A Story In Paragraphs appeared first on Distorted Sound Magazine.
