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There are few bands that can or will match Sweden’s Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, intrinsically intense albums to become one of the best bands on the planet; whether that be live or on record[A1] . Ask any Opeth fan. Enquire with any band that’s shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They’ll all tell you the same thing: Opeth are peerless. And they’re only getting better.
Opeth’s new album, Sorceress, their first for Nuclear Blast via the band’s [CD2] imprint[A3] label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album’s opener “Persephone” to “The Wilde Flowers” and “Strange Brew” to the album’s counterpart title tracks “Sorceress” and “Sorceress II”, Opeth’s twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colors mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt’s impressive record collection—his one true vice—but, as always, there’s more invention than appropriation at play.