Opeth’s new album The Last Will and Testament brings a lot to the table, showcasing the band's signature sound with some intriguing new twists. One of the most striking features of this album is the repetitive rhythm of the drums that forms a strong backbone in many of the songs. A prime example of this is when Mikael Åkerfeldt growls the powerful line, "the testament of fathaaa," creating a moment that really sticks with the listener. The new drummer Waltteri Väyrynen really impresses already on the first track. The song finishes off with a symphonic ending that leaves an impression of a great song that will possibly introduce us to an intense album.

The album is full of harmonies that blend and mix beautifully, drawing on a 70s vibe that will feel familiar to many fans of the band, especially those who appreciate Opeth's work since Heritage (2011). There's an ethereal section in the song §2 around 0:45 that captures a dreamy atmosphere, highlighting Opeth's ability to create soundscapes that are both intricate and calming. While the songs are well-paced, they don't always reach the level of excitement that one might expect from Opeth. They're interesting, but they don’t quite stand out as exceptional or groundbreaking moments in the band's catalog.

One of the more unique aspects of this album is the flute sound that appears in some tracks. It’s very intriguing and in the song §4 evokes the feeling of a spy movie soundtrack, adding an unexpected cinematic element to the music. Meanwhile, there are also some moments where Opeth plays with rhythms that feel familiar to their style, but with subtle hints of Eastern influences (§5), giving certain tracks an interesting touch. It’s a blend of the old and new, and while it’s not groundbreaking, the atmosphere still adds a nice layer of complexity to the music.

The highlight for many listeners will be the usual Opethesque progressive elements that appear throughout the album. Opeth continues to demonstrate their mastery of polyrhythms, with multiple tracks showcasing their ability to weave together different rhythms in complex and exciting ways.

There’s also a melancholic ballad on the album, A Story Never Told, that stands out as one of the best moments. It’s classic Opeth, filled with sadness and beauty, that makes it one of the more memorable pieces on the record. You can feel the emotion in every note, and it serves as a reminder of why Opeth’s ability to create such melancholic melodies has earned them a loyal following.

Overall, The Last Will and Testament is a solid album, offering many great rhythms and riffs, a great example is the groovy rhythm in §7. However, some songs feel a bit short and underdeveloped, leaving you wanting more. I haven't double-checked it, but I read somewhere that this may reflect Mikael’s desire to comment on social trends and create music that resonates with the modern, fast-paced culture of today—where attention spans are short, and we move on quickly from one thing to the next. While the album certainly delivers on several fronts, it doesn’t quite reach the same level of depth and complexity that Opeth's previous albums are known for. Still, it's a strong addition to their catalog, and only time will tell how it will be remembered.

Addendum:
While I understand and appreciate Opeth's intention with naming all the songs with the section symbol § (I mean, it is a testament after all), here's my proposal for more organic song names on this album:

§1 - The Howl of Lore
§2 - Of Wretched Martyr
§3 - Carnal Shame, A Secret Treaty
§4 - Seed of Deceit
§5 - The Crowning of An Heiress
§6 - The Barren State of Our Time
§7 - A Triumph for Heresy
A Story Never Told