After 2008, Akerfeldt veered Opeth in a traditional Prog Rock direction, drawing heavily from the '70s roots of the genre. This conscious creative bent led to three albums of mixed fan and critical reactions on "Heritage," "Pale Communion," and "Sorceress" - - but make no mistake, this era produced a number of brilliant songs, and more than a few legitimate Opeth classics. Haters be damned.
The point of all this preamble is that those three albums did often feel constrained, as if Akerfeldt's songwriting was restricted by a new set of rules. On "In Cauda Venenum" (Latin for “Poison in the Tail”), those chains are cast off. There's a regained sense of creative freedom, as if Mikael has begun writing again with no limitations. And when Opeth are at their full power, they’re virtually peerless.
This is a return to the “Watershed” days, for sure - - but there are still plenty of Prog touches. . . long, noodly stretches of notes and atmospheric ‘70s Italian Horror film score stuff. The album is heavier than the recent Prog trilogy, but only just. Its commanding elements are drawn from the usual sources of Yes, Led Zeppelin, Pink Floyd, Black Sabbath, Rush, old-school Genesis, Wishbone Ash, Camel, The Beatles, and Deep Purple, as well as Opeth’s own history. Specifically, in retrospect, it now sounds like the excellent-but-overlong epic “Moon Above, Sun Below” from “Pale Communion” was a dress rehearsal for the best elements of these records; a test run, if you will.
Akerfeldt’s singing voice and vocal melodies continue to improve, adding more emotional depth and range. His Death Metal growls of olde remain in retirement, and honestly are not lacking in this material. Other voices have been added throughout for layering and texture, mostly spoken snippets of Swedish dialogue, children’s voices, excerpts of past Swedish politician’s speeches.
There’s also a fascinating use of negative space and anticipation. The best example of this opens the record, with an ambient New Age non-song called “Garden of Earthly Delights,” which seems to exist merely as buildup to the breathtaking opening of “Dignity.” The best stretch of music runs from “Dignity” to “Heart in Hand,” “Next of Kin,” and “Lovelorn Crime,” but there’s also greatness in “Universal Truth” and “All Things Will Pass” (the latter possibly a nod to George Harrison’s “All Things Must Pass” post-Beatles solo record?). Oh, and goddamn, that arpeggio section on the latter half of “Continuum” is just enchanting. All throughout the record are beautiful little moments, classic Opeth riffs and Classical-style guitar flourishes - - even some dips into jazz guitar soloing. And the strings. . . . the (actual, non-synthesized) strings are used subtly and sparingly, but by God, they’re just gorgeous whenever they show up.
It should be noted that there are two versions of “In Cauda Venenum,” one with English lyrics, one sung entirely in Swedish. This review only covers the English-language version, but I’m just excited enough about this to now seek out the Swedish edition to find the subtle differences.
A new Opeth record is always an event. This one is a contender for 2019’s album of the year. Guaranteed Top 5.
