Opeth - Heritage

Mon 28th Nov, 2011 in Music Reviews

This album, Opeth’s tenth, commences with the title track, a piano piece composed by new member Joakim Svalberg and accompanied by bassist Martin Mendez playing fretless for the first time. Exuding a subtle menace, this track is a tribute to Swedish jazz institution Jan Johanssen.

After this introduction, we’re hit with The Devil’s Orchid, which features one of the more complex and instantly recognisable riffs on the album. Replete with bass and keyboard interludes, this is a perfect representation of Opeth in 2011 taking us into some of the territory touched on in The Lotus Eater from 2008’s Watershed , without the blastbeat or death metal vocals.

Next up is I Feel the Dark , which starts with an acoustic workout before stepping up in dynamics to present one of the more intense passages on the album. Slither is Opeth’s tribute to the late Ronnie James Dio. Michael Akerfeldt has been very open on the influence Dio had on him, and in interviews he has admitted that he asked fellow guitarist Fredrik Akersson to come up with something that Ritchie Blackmore may have written; the result is a raucous, melotron-rich rock song.

As Nepenthe drifts into play, we’re met with the deft touch of drummer Martin Axenrot playing to a minimalist arrangement and vocal. Then, without warning, it becomes a complete “prog-out” direct from the 70s. An enigmatic piece.

Following on is Haxprocess, which takes the minimalist approach to the previous track a step further, before breaking into some classic Opeth acoustic wizardry that would not have been out of place on 2003’s Damnation, and trails out with an extended solo that David Gilmour would be proud of.

We’re introduced to next track, Famine , by renowned Swedish flautist Bjorn Lindh recorded warming up in the studio, followed by percussionist Alex Acuna, one time member of Elvis Presley’s band. This is perhaps the most crushing track on the album, including a might doom metal riff flavoured with jagged flute. Bringing us back to more comfortable ground, albeit it via some unusual time signatures, is The Lines in My Hand. The pace is picked up gradually, giving drummer Axenrot his biggest workout yet.

On penultimate track Folklore , we’re given the best opportunity to absorb Opeth’s new found guitar sound – less distortion, more warmth. This track sees the band at their most progressive, including a lengthy breakdown into subtle keyboards before being interspersed with and ultimately overwhelmed by the dreamiest passage of the album, bringing all of the instruments into unison. A perfect way to bring the album proper to a conclusion before the closing instrumental passage straight from the 60s Marrow of the Earth.