Author: Peter Podbrežnik
Artist: Opeth
Label: Roadrunner Records
Release: 2011
Runtime: 57:04
Rating: 5/5
“Heritage” is the latest, and by now tenth, studio album from these cult Swedish prog metallers, who have spent their whole career on a long road of ever-growing sonic sophistication, from their original, if intelligently built, death metal roots to far more layered progressive rock horizons. Band boss, singer, guitarist, keyboardist, songwriter, producer and mastermind Mikael Åkerfeldt has made the wise call this time to sing the entire album in clean vocals, only the second time in the band’s story and the first since the prog-rock-leaning “Damnation” (2002), ditching the death metal growl altogether. After all, plenty of fans of experimental music were put off by exactly that stylistic element and never got up close and personal with (most of) their discography.
“Heritage”, which has quite a bit in common with the aforementioned “Damnation”, is without doubt the most complex achievement in the band’s story so far, and one that could win Opeth a few new fans among lovers of experimental music. Unlike on “Damnation”, this time they go two steps further in the complex expansion of their signature sound and the exploration of layered musical horizons, as well as in the amount of improvisation. Besides old-school progressive rock and heavy metal, the album’s style was shaped most by jazz fusion and also traditional Swedish folk music. Åkerfeldt originally planned to make “Heritage” in a similar, almost identical style to its predecessor “Watershed” (2008), but, luckily for everyone who isn’t thrilled about the growling and the beefing up of their death metal roots, he later changed his mind.
Opeth’s greatest strength has always been (and this time is no different) their ability to build top-notch atmosphere, always steeped in the mostly gloomy contrasts of melancholic Scandinavian pathos. Right off the bat, it has to be said that the excellent production, which clearly bears the fingerprints of sound mixer and longtime friend of the band Steven Wilson (Porcupine Tree), contributes massively to the sonic breadth of “Heritage”. Wilson also had a strong influence on the musical structure of the individual pieces on the album, even though in the first place this was simply the next logical evolutionary phase for the band. The album cover symbolizes that evolution very well too, with the band members’ heads in the evergreen crown of a tree while the roots reach down into hellish flames, meant to represent their death metal past. Keyboardist Per Wiberg’s head is falling from the tree, since he left the band soon after the album was recorded. The skulls beneath the tree stand for the band’s former members.
The title track is a short, surprisingly serene intro with a lovely, crooked-melancholic piano arrangement. But already on “The Devil’s Orchard”, which has an oriental charm thanks to its unusual guitar phrase structure and pentatonic-based rhythm, things quickly get ‘complicated’. The atmosphere shifts seamlessly all the time, moving through subtler and then again somewhat more aggressive shades, and the credit for that goes largely to Åkerfeldt’s vocals, as well as the shimmering layers of Wiberg’s Hammond organ and Axenrot’s complex drum transitions. The intricate still life in the middle of the composition, where percussive improvisations rule, has a strong jazz stamp, and the influence of (early) King Crimson is clear too. The lyrics, in Åkerfeldt’s usual tradition, are full of socially critical cynicism and disappointment over the decay of all sorts of social values.
“I Feel the Dark” opens with waves of mellotron and a gentle, pastoral melody on acoustic guitar, which, alongside unpredictable guitar phrases, are key to building its tense, dark atmosphere. Somewhere in the middle there’s a decisive break from the earlier motif and the band sails briskly into somewhat more aggressive waters. Meanwhile, Åkerfeldt keeps adapting the pitch of his singing very well to the escalating atmosphere. “Slither”, apart from its antique use of Hammond organ, thanks to its racing rhythm gets a bit closer again to compact, more established prog metal habits, but that takes nothing away from its complexity, let alone from the rich, constantly shifting atmosphere. That goes especially for the incredibly simple but damn effective ambient ending. “Nepenthe” is one of those compositions on the album where Opeth’s latest evolutionary step toward old-school progressive rock is most obvious. A short introductory improvisation slowly makes room for a complex melody with jazz-fusion-based rhythmic patterns. The improvisation process repeats several times, and so the band cunningly ramps up an ever more dramatic atmosphere.
“Haxprocess” is also marked by a sweeping degree of atmospheric complexity, mainly thanks to the subtle use of mellotron and complex fusion-style rhythmic nuances, all tied together by Åkerfeldt’s penitent, melodramatic vocals. The shift into a more dramatic phase with rolling symphonic harmonies and thrilling drum variations is no surprise, but it’s pulled off in such a subtle, old-school way that it deserves a hefty gallon of congratulations. In the closing section they take their time for a sudden acoustic ‘breather’, where the quiet discipline of every band member comes to the fore, which isn’t exactly a quality most modern prog metal bands can brag about.
It’s really no surprise that the composition titled “Famine”, which also wows with the sound of a flute, is the most complex piece on the album, with numerous stylistic contrasts. That includes a world music influence via the opening atmosphere-building on percussion, courtesy of special guest, legendary ex-Weather Report percussionist Alex Acuña, and the seamless assembly of colorful collages of heavy metal, old-school prog rock and jazz fusion. With multidimensional harmonies on guitars and keyboards and the use of rhythmic pentatonics, Opeth once again confirm that they’re very fond of oriental-based motifs. Certain guitar phrases and effects once again recall the good old King Crimson, while the flute, especially during its solo moment, conjures the spirit of prog folk rock forefathers Jethro Tull. The interludes, especially the piano ones, sound distinctly jazzy.
On “The Lines in My Hand” you can, among other things, feel a strong influence of Wilson’s Porcupine Tree, shown mostly in the inventive use of various ambient effects. Axenrot’s drum variations excellently tie together the acoustic passages and symphonic arrangements, while the punchy guitar phrases are played in the best prog metal manner, but without the usual clichés. Åkerfeldt once again proves himself a thoroughly convincing lyrical dramatist.
It’s kind of unfair to pick the album’s highlight, but if we must, the top prize definitely goes to the phenomenal “Folklore”, a genuine incarnation of old-school progressive rock, yet seen through the unmistakable Opeth sonic prism. Everything on this highly complex track deserves a flat-out ten out of ten, whether it’s the atmosphere-building, the seamless switching of motifs or the pronounced lyrical depth. The central motif, ruled by melancholic guitar harmonies, is damn hypnotic. The improvisation is once again thrilling and in the best fusion tradition, while the final ambient effect, especially in the strikingly melancholic ending where mellotron and multi-part guitar harmonies take over, is downright stunning. “Heritage” closes with “Marrow of the Earth”, built in a similar piano-based solo manner as the opening title track; a gentle, melancholic melody lifts up a pastoral atmosphere that stirs up nostalgia for some long-forgotten time when the world was, put in very simple terms, still simpler and friendlier.
With “Heritage”, Opeth have created a new masterpiece of sweeping, atmospheric proportions and completed their gradual evolution into a progressive rock band, which will undoubtedly win them numerous new fans with a sophisticated and more demanding musical taste. Whether or not Åkerfeldt decides on the very next album to return to death metal roots and growling, with “Heritage” he has made a record that has finally won over the hearts of all those prog rock gourmets who until now mostly turned up their noses at their increasingly complex output and eyed with skepticism their ever more obvious flirting with progressive rock’s old-timers.
Lineup
Mikael Åkerfeldt- vocals, guitar, mellotron, piano, effects, sound mixing
Fredrik Åkesson – guitar
Per Wiberg – keyboards, piano, mellotron
Martin Mendez – bass guitar
Martin Axenrot – drums
GUEST MUSICIANS:
Alex Acuna- percussion on “Famine”
Björn J:son Lindh -flute on “Famine”
Steven Wilson – sound mixing
Production
Mikael Åkerfeldt
Tracklist
1. Heritage
2. The Devil’s Orchard
3. I Feel the Dark
4. Slither
5. Nepenthe
6. Häxprocess
7. Famine
8. The Lines in My Hand
9. Folklore
10. Marrow of the Earth
