Mikael Åkerfeldt and Opeth are back with The Last Will And Testament, a sprawling, concept-driven tour de force that mirrors Åkerfeldt’s own ambivalence toward music. “I worship and hate music at the same time,” he confesses, and this duality courses through the record’s veins. As always, Opeth lean into the “strange” over the “obvious,” creating an experience that demands patience but rewards it in the end.

The album’s production reflects Opeth’s serious approach to their work. Co-produced by Åkerfeldt and Stefan Boman (Ghost, The Hellacopters), the album was engineered at Stockholm’s Atlantis and Hammerthorpe Studios. Dave Stewart (of Egg and Khan fame) arranged and conducted the string sections at London’s Angel Studios, while Miles Showell lent his Abbey Road mastery to the final mix. Visual artist Travis Smith returns with his 11th Opeth cover, evoking Stanley Kubrick’s eerie, timeless aesthetic with a chilling photo reminiscent of The Shining.

Musically, The Last Will And Testament encapsulates everything Opeth have excelled at over their 30-year career. The album traverses growling metal, intricate progressive rock, and cinematic posturing, striking a balance between the conventional and the avant-garde. Tracks like “§4” and “§7” feature Ian Anderson’s flute soaring over intricate arrangements, while “§1” and “§2” dive into darker, more narrative-driven territory. Åkerfeldt, as always, walks the tightrope between vulnerability and majesty. His lyrics, co-conspired with Klara Rönnqvist Fors, are introspective yet grandiose, capturing the restless spirit of a songwriter that’s forever evolving. “I feel like I’m in awe of what we did,” he says. “There’s coherence and songwriting skill, I hope. But what do I know?”

Fans are sure to be thrilled by the guest list: Ian Anderson of Jethro Tull graces multiple tracks with his signature flute work and even lends his voice to several narratives. Europe front man Joey Tempest adds a touch of vocal grandeur, while Åkerfeldt’s daughter, Mirjam, provides haunting voiceovers, adding a personal touch to the album.

For a band that began as a death metal outfit in 1990, Opeth’s trajectory has been anything but linear. Albums like Blackwater Park and Ghost Reveries defined their progressive death metal era, while later works like Heritage and In Cauda Venenum explored a retro-prog aesthetic. With The Last Will And Testament, they bring these threads together, conjuring a record that feels both retrospective and forward-thinking. For Opeth fans, it’s another chapter in a story that’s far from over.