Opeth
Sorceress

I am one of those who approves of Opeth's progressive rock turn; I find it almost necessary, almost having the impression that without it, Opeth's proposal would have turned inward on itself, falling into repetition. In fact, as I mentioned in a comment on the previous review, I would have implemented it later and wouldn’t have limited the modern path started with "Ghost Reveries" and "Watershed" to just two albums. However, when I noticed the band's intentions starting with "Heritage," I was nonetheless struck, struck essentially by the courage shown by the band, a courage that essentially lies in wanting to propose something decidedly distant from the style that made them known to a certain type of audience, even at the cost of losing these fans, following their current intentions. I always appreciate that veil of indifference towards the fans; I consider it almost a must of being an artist because art is the expression of the creativity one has inside, not external demands. Unfortunately, not everyone understands this, and it ends up heavily restricting them from doing what they really feel like doing.

Despite everything, I too had something to say about Opeth's progressive turn: "Heritage" also seemed to me too derivative, too much a copycat of King Crimson and Camel's prog with little personality; already in "Pale Communion," Opeth's touch was decidedly more present…

"Sorceress" represents for yours truly a significant step forward in perfecting and deepening the prog turn. The charges here seem if not to fall, at least to lose power. Here, to my way of feeling, the Opethian hand is indeed present, and the album does not seem an unabashed copy or worse, a carbon copy of certain prog. Probably decisive was the hardening of the sounds; the album is not a return to metal (at most brushed upon in some tracks) but is undoubtedly harder than the previous two albums; and overall, the hues are darker and more cavernous. The overall result seems to be a hard-dark-prog that, all in all, is quite enjoyable to listen to.

Among the tracks, the title track stands out with its successful fusion-flavored intro guided by electric piano and bass and the almost metal riffs that characterize the verses, "The Wilde Flowers" with its almost stoner riffs but in service of a composed and elegant advance, "Chrysalis" which reprises the furious gallops of the old Opeth but readapted to the sound of today's Opeth, "Era" with its pressing and overwhelming rhythm, "The Seventh Sojourn" with its Arabian influences dictated by percussion and strings.

The personality is there; one just needs to know how to grasp it. Evidently, many have not been able to do so and now find themselves here talking about yet another misstep by Opeth. It surprises me a little; when I listened to it, I thought it would break through better than the previous two works; for many, it indeed has, but I am noticing a lot of people who even seem to prefer "Heritage."

That does not detract from the fact that Opeth can undoubtedly do more; but the foundation is certainly there; who knows, perhaps they are just laying the groundwork for something truly interesting. In the meantime, I enjoyed this excellent work, and for now, I am content with it.