Opeth
In Cauda Venenum

From frighteningly bringing everyone into agreement to deeply dividing them. It's the transition the Opeth made when they decided to abandon their peculiar prog death metal to dive into the dark prog-rock inspired by the seventies. Well, in truth, many have made this transition, but their case is probably one of the most striking. Starting from “Heritage,” Opeth had to deal with numerous critiques mostly referencing a supposed lack of personality in making prog-rock, a sound too reliant on Camel and King Crimson, but that sounds little like Opeth. However, “In Cauda Venenum,” the Swedish band's thirteenth album (for the occasion, they choose to release the album also in their mother tongue), has made many reconsider.

Opeth only needed to adjust a few elements to create the right album, there was no need for a real overhaul, with a few tweaks they managed to hit the target. Starting already from the guitars alone, which finally sound gritty and bright without translating into real hard prog (something that happened more in the previous album), an approach that might remind one of King Crimson's '73-'74 period; there are also intense solos rich in pathos as not heard in some time. The robust sound is also ensured by Martin Mendez, a bassist I always found somewhat anonymous and in the background, but not here, where his deep and rocky passages seem to have particular weight on the tense atmosphere of the compositions. Martin Axenrot's drumming is varied as well. Ǻkerfeldt then gives it all with the voice, absolutely without dusting off the growl (which the band does not rule out returning to in the future), but bringing out a grit perhaps missing in previous records. At the same time, however, significant space is given to acoustic parts, also very determined and metallic, with phrases never taken for granted and always quite clear, those parts that seemed to have lost power in recent productions here regain strength, indeed acquire a melodic value never seen before; remember that for Opeth, acoustic moments have been a winning weapon in the golden years, those sections often drawing from folk had a huge weight in determining the old Opeth style, these along with the technical element were precisely what piqued the curiosity of many enthusiasts, they were something that allowed Opeth to stand out from the multitude of bands, not just another metal band. Essentially, it seems that the alternation of hard and soft moments has been re-established, which made Opeth famous during the death years, as if the formula is back in vogue but with a different application, being used in the prog-rock context in which the band has been involved for years. Completing the soundscape are the vigorous orchestral arrangements, perhaps the true revolutionary element of the album, so thick and imposing as to put the always rather old-school work of keyboardist Joakim Svalberg into the background; this causes a pleasant detachment from certain too-seventies sounds to finally have a sound that truly shines on its own, at most a little akin to some of Steven Wilson's productions. It is quite well known that excessive seventies revivalism in prog is not well seen in the long run, especially considering that it is a genre that by definition strives to move forward; it's hard to determine how much progress has been made here, but certainly, the sound is more convincing and evolved compared to previous records.

Almost every track seems to have the power to hit the mark in its own way. “Heart in Hand” stands out with its rocky and wild rides, its strange central synthesizer effects, and its slow acoustic tail. “Next of Kin” strikes with its slow but marked progression by tense and stretched guitar riffs, as well as its string arrangements that become more robust up to the almost deafening final triumph. “Universal Truth” is the triumph of melody, particularly there is the perfect union between clean acoustic guitars and carefree and light string arrangements, creating an almost sunny and spring-like atmosphere, but perhaps the melodic peak is reached in the poignant ballad “Lovelorn Crime,” led by piano and also supported by brilliant orchestral arrangements, closely reminiscent of “Drive Home” by Steven Wilson also because of the exciting final solo whose style closely resembles that of Guthrie Govan. But Opeth knows how to surprise with even more unusual ideas, just think of the introductory “Garden of Earthly Delights” which experiments for the first time with electronic loops embracing the atmospheres of Tangerine Dream, or the peculiar and clumsy orchestral “horror-jazz” led by a heavy piano in “The Garroter,” but also the sharp and rough bass of “Charlatan,” which incorporates elements close to djent in a purely prog-rock context.

This time there's really no excuse not to love Opeth in a prog-rock guise… although numerous listens are needed to fully appreciate this “In Cauda Venenum,” it is an album with great potential but that never overtly declares itself, precisely because as I said at the beginning, it was only a matter of adjusting small things here and there; upon first listens it may even seem banal and outdated, a simple continuation of what was done in previous albums, but as the listens go by, the greater intensity and conviction that characterizes it emerges, the listener is almost forced to surrender and affirm that this album has several more gears.

Yet it doesn't seem right to belittle previous works, in hindsight “Pale Communion” already provided a great example of dark and convincing prog although very derivative and had at least three tracks with their own identity, “Sorceress” instead had attractive hard sounds where the hand of Opeth was indeed felt; the only album perhaps a little dull and avoidable was “Heritage,” that one was just a bit devoid of bite although in the end, it's listened to without problems.

Continue in this direction? I don't know, if the intensity and inspiration will be the same as “In Cauda Venenum” I could easily sign off on it, but I feel it's time to close this chapter and open a new phase, Opeth has the potential to go anywhere. Personally, I consider it a pity not to have continued the discourse started with “Ghost Reveries” and flowed into “Watershed,” in those two albums they created something truly original by coloring their prog death metal with more modern and alternative elements, new rhythms and vintage sounds, a mix too successful not to be carried forward for 1-2 more albums; in reality, they were about to do so, they recently declared that while working for “Heritage” they had written 30-40 minutes of new music that still presented the death style only to regret it and erase them; will they reconsider?