For their 14th album, Swedish prog wizards Opeth created a concept record around the reading of a will. Partly inspired by a talk-show segment and partly by the massively popular TV show Succession, Opeth guitarist/vocalist Mikael Åkerfeldt decided to write about an inheritance with a twist. “I stumbled upon the idea of putting the whole story as it would’ve been written in a legal document, like a proper old piece of paper with paragraphs like, ‘My daughter will get the country house,’ and things like that,” he tells Apple Music. “But it’s more like a confession of sorts, where the patriarch reveals secrets about himself, his paranoia, and his regrets. And some of these secrets will immediately affect his children in an existential kind of way.” The Last Will and Testament also marks Åkerfeldt’s return to the death-metal vocal style of Opeth’s early days. “I wanted to bring back the screaming vocal, but at first, I felt a bit like a fraud because I wasn’t listening to brutal music,” he explains. “I’m listening to Dexter Gordon and David Crosby. But after I finished two songs with that kind of vocal, I thought it was fucking awesome.” Add guest appearances from Jethro Tull’s Ian Anderson (on flute and narration) and Europe vocalist Joey Tempest, and you’ve got another fascinating installment in Opeth’s catalog. Below, Åkerfeldt comments on each track. “§1” “This was the first song written for the album. It’s when I dipped my toe in the water, so to speak, to see where I was on a musical level. At the time, I didn’t really have the lyrics ready, but I wanted to try out that screaming vocal. So, this song is kind of the guinea pig for that. And usually, when I start writing for a record, I come out all guns blazing. So, it’s kind of heavy, evil, fast, and a bit insane. Lyrically, the kids are being summoned to attend the reading of their late father’s last will and testament. There’s also a couple of solicitors in place. The reading starts, and he’s explaining that there’s going to be prizes. But they might not be what you wanted.” “§2” “I can hear that I was quite comfortable with whatever I was doing musically here. And that kind of stands out because it has two guests on there. On ‘Paragraph One’ you have a voice-over thing by Ian Anderson of Jethro Tull, and he’s heavily featured in ‘Paragraph Two’ as well. And so is Joey Tempest, from Europe. For some reason, he loves Opeth, which is awesome for me because I grew up with Europe. The song itself is pretty adventurous, I think. It’s probably one of the songs that will take a long time to sink in with the listener. There’s also a calm section that I kind of nicked from Paul Simon’s ‘Still Crazy After All These Years.’” “§3” “This is more of a classic heavy metal song, I would say. The opening was inspired by a theme you often hear in jazz music, like Django Reinhardt, but also some classical music and fusion-rock bands. And the musical Chess, believe it or not, which was written by Benny and Björn from ABBA. From there, it kind of becomes a normal heavy metal song, but with more emotions than your basic Iron Maiden song. I’m not saying Iron Maiden doesn’t have emotions, but this is kind of a sad song—to me at least. Lyrically, there’s some explanation about infidelity that happened and what that led to.” “§4” “This is an interesting tune because it’s almost like a couple of different songs in one, which is not so uncommon for Opeth. I started off trying to write something called 12-note music, which is an experimental classical thing where you have 12 notes in an octave, and you can’t play the same note twice—meaning it’s going to be fucked up. So, the beginning of the song is hard to sing along to. It’s a bit Zappa-esque. That leads into kind of a metal-y call-and-response with death metal vocals and clean vocals, and then it stops and goes into a harp section. I actually found the harp player from an article in a Swedish newspaper, which is weird. That leads to the next section, which is Ian Anderson playing the flute. Then it builds into the most vicious, evil-sounding music on the record.” “§5” “This is maybe the last song I wrote for the record, or one of the last. You can tell that I’m comfortable in my songwriting here because it’s quite experimental. There’s not a lot of acoustic guitars on this record, but this song is built around an acoustic lick and clean vocals, and all of it gradually becomes heavier. In some parts, maybe the heaviest sections on the record. And really good death-metal vocals on that track, if I do say so myself. There’s also a Middle Eastern-sounding midsection, which I never dared to do before. If you just hear the song once, you probably won’t know what the fuck is happening. You need some time with it.” “§6” “During the recording, everybody feared this song because it’s so difficult. It doesn’t sound difficult, but for some reason, it’s really, really difficult. I’m not really a good guitar player or a good musician, but for some reason I have a knack for writing really complex music. And this song, it’s almost like it spirals out of control in a way, like you’re losing control of the horse and it just stampedes. I’ve never done cocaine in my life, but it sounds like what I imagine a cocaine rush is. I think that’s got something to do with me not tampering with the tempo of the song, which resulted in us almost not being able to play the fucking thing.” “§7” “This always felt like the ending song of a record, even if there’s one after. But it’s still the end of the testament, as it were. It’s more of a groovy song. I don’t really like that word, but sometimes it’s the only word that applies. It’s slower than the other songs, and less crazy. It’s also the first song in our history where every band member sings. There’s a multipart harmony vocal that happens a couple of times, and everyone is on it. I can tell you there were people who had never been in front of a microphone before, which was quite fun.” “A Story Never Told” “At this point, the testament is done. But everything that’s been said in the testament doesn’t really apply because here comes the twist to the story. The inheritance has been settled, a few years have passed, and a letter arrives, revealing a secret. The song itself is a ballad, and I’m a sucker for ballads. I wanted to write a beautiful ballad, not just because I love ballads, but because the seven songs prior to ‘A Story Never Told’ are so intense that there’s no room for breath, really. And this song feels like a good ending, with a beautiful Gilmour/Blackmore-esque solo by [Opeth guitarist] Fredrik [Åkesson] at the finish.”