When it comes to the worlds of progressive metal and emotional storytelling, few names carry the weight and reverence of Opeth. For nearly three decades, they’ve continually evolved — blending death metal ferocity with lush, prog-soaked melody, creating a sound that’s as haunting as it is timeless.
As they prepare to release their fourteenth studio album, The Last Will and Testament, via Reigning Phoenix Music / Moderbolaget on November 22, 2024, I caught up with guitar wizard Fredrik Åkesson, who’s been shaping the Opeth sound for almost 18 years. We talked all about the creative process, the return of those iconic growls, and what makes this new record one of the band’s most dynamic yet.
“It all starts with Mikael…”
When I asked Fredrik where The Last Will and Testament began, his answer was simple: with Opeth mastermind Mikael Åkerfeldt.
“It usually starts with Mikael — or it always starts with him,” Fredrik laughed. “He had a vision about doing a concept album, and we talked about it during our shows. This time, the idea was to make it a bit heavier — to bring back the growls. That was a big thing for a lot of people.”
The record’s creative seeds were planted in mid-2023, as Mikael began sending Fredrik early sections to solo over.
“The first thing I got was a section he wanted me to solo on — this was early June,” Fredrik explained. “From there, we basically got one track at a time until December. The music was all done by then, but the lyrics and concept kept evolving right up until February this year.”
That meticulous process gave the album a sense of cohesion and storytelling weight — a true concept piece with a dark narrative running through each “Paragraph” track.
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Swedish prog titans OPETH are releasing their 14th studio album, THE LAST WILL & TESTAMENT which is now due on November 22, 2024 via Reigning Phoenix Music / Moderbolaget! https://opeth.rpm.link/lastwillPR
Crafting the Solos — “Little compositions within the song”
Fredrik’s guitar work has always been a vital voice in Opeth’s sonic language, and this time around, he pushed his creative process even further.
“On In Cauda Venenum, I did my solos more on the spot at Mikael’s studio,” he recalled. “But this time, I took them home and really worked on them. I treated each solo like its own little composition within the song.”
Tracks like Paragraph 5 demanded a lot of thought and feel.
“That one’s tricky to play over — you can’t just shred pentatonics,” Fredrik said. “You have to be aware of every note you land on. I wanted every solo on this album to sound different from the others — to each tell its own story.”
It’s that obsessive attention to melody and phrasing that has made Åkesson one of metal’s most respected guitarists — a player whose feel cuts through even the densest prog labyrinth.
The Return of the Growls
For longtime fans, the biggest headline surrounding The Last Will and Testament is obvious — the return of Mikael’s guttural growls.
“We could tell during the last tours that Mikael was enjoying the older material again,” Fredrik said. “His growls sounded more powerful than ever. I didn’t think that would happen, but he looked excited about it again.”
Fredrik smiled knowingly as he added:
“If I told him we had to have growls, he’d do the opposite. It has to come from him — I’ve been playing with him 18 years, I know how he works. So I just kept quiet and waited.”
But these growls aren’t just nostalgia — they serve a narrative purpose within the concept.
“They’re not just a gimmick. They have meaning in the story. The patriarch character in the album has several ‘voices’ — one of them being those growls.”
The result is a record that bridges eras — the darkness and aggression of early Opeth meeting the grandeur and nuance of their more recent works.
“A story within the story” — The Concept and Its Twist
Opeth have always been storytellers, weaving intricate themes through complex arrangements, and The Last Will and Testament might be their most cinematic yet.
“The concept kept morphing while the music was written,” Fredrik said. “By February, right before we entered the studio, Mikael rewrote all the lyrics — that’s when it crystallized.”
Each track forms a “Paragraph” in the story — seven in total — followed by the haunting closer A Story Never Told.
“That last track is the twist,” Fredrik revealed. “It’s a letter from the daughter years later — something even the patriarch doesn’t know. That’s why it’s the only track with a proper title. It closes the whole concept beautifully.”
The Artwork — A Ghostly Gallery
Visually, the album is just as layered as the music. Created by Travis Smith, it takes a new direction inspired by cinema and symbolism.
“We wanted something different this time,” Fredrik said. “It’s a bit inspired by The Shining — that final scene with all the ghosts. If you look closely, you can find all the band members in there… even our manager — dressed as a lady,” he laughed.
It’s a perfect visual metaphor for Opeth’s ability to haunt their own history — constantly reinventing themselves while nodding to their past.
Vinyl, Legacy, and That Opera House Show
As a collector myself, I had to bring up the importance of physical formats, especially with a concept album like this. Fredrik couldn’t agree more.
“I mainly listen to vinyl,” he said. “It’s something special. You open it up, read the lyrics, look at the artwork. I’m happy that new generations are into vinyl again — it gives the music the space it deserves.”
Opeth have long been a band built for immersive experiences — from needle to note to stage. And few venues capture that energy like the Sydney Opera House, where they once performed to a sold-out crowd.
“That was incredible,” Fredrik recalled. “It sold out in a couple of days. You have to pinch yourself playing a place like that. I remember telling my parents, ‘I’ve played there!’ It’s surreal.”
He added with a grin,
“And who knows — maybe we’ll be back again soon.”
On the Road — And Down Under?
When I asked about tour plans, Fredrik hinted that Australia is very much on the horizon.
“There’s a lot of touring coming — North America, Europe… and yes, Australia is 99.9% happening next year. I can’t give the dates yet, or they’ll yell at me,” he laughed. “But it’s coming.”
Final Thoughts — The Testament of Opeth
With The Last Will and Testament, Opeth continue to defy expectations — merging the technical and the emotional, the past and the future, the deathly and the divine.
Fredrik summed it up perfectly:
“We’ve done four prog albums — we took that to its peak. Now it’s time for something different again. This one feels like a new chapter, but it’s still unmistakably Opeth.”
And after nearly two decades with the band, his passion for pushing limits remains unshakable.
“I always try to improve between albums,” he said. “That’s what keeps it alive — challenging yourself. If you’re not pushing your boundaries, you’re standing still.”
