So, Opeth have left behind death metal at last. It was always going to happen and only the most stubborn of metal heads can seriously begrudge its passing. Yes it gave rise to Opeth’s unique style but by the time of 2008’s 'Watershed' it was clear that Mikael Åkerfeldt was becoming increasingly tired of the extreme aspects of his band’s music. Although it might have been more commercially prudent to gradually ease such extremity out rather than dump it wholesale, it is undoubtedly preferable for the purity of the music that such elements are jettisoned now that Opeth’s main man is ready to do so.
One could be forgiven for thinking that, with a title like 'Heritage', Opeth’s tenth observation would heavily reference the band’s roots and still punch a heavy prog metal kick despite the lack of harsh vocals. Such suspicions genuinely could not be much further from the truth. 'Heritage' is as old school as modern prog can possibly get. From the cover art, which is as seventies as artwork comes nowadays, to the production, this is a classic prog rock styled record. For guitar aficionados the most noticeable change in the sound is the obvious use of more traditional guitars with single coil pickups rather than the humbuckers that used to give the band their roaring metal tone. However you don’t have to be a musician to pick up on the differences.
This record is truly dripping in seventies prog stylings. There are large slabs of jazz fusion influences on the likes of 'Nepenthe' and an obvious debt to psych folksters Comus is apparent on the likes of 'I Feel the Dark'. Every now and again the album verges on heavy metal, but such occurrences of real heaviness are rare. 'The Devil’s Orchard' is probably the highlight, and frankly would stand out on any Opeth record, such is its classic use of the band’s traditional atmospherics and its impressive (all-clean of course) lead vocal performance. 'Slither', the band’s tribute to Ronnie James Dio, sees Fredrik Åkesson let loose into Ritchie Blackmore mode and he sounds like he’s living out a childhood dream by doing so. In fact this whole album feels like it was tremendous fun to make. Åkerfeldt is well known for his love of classic prog and he has indulged himself to the full here. Jethro Tull, Caravan and King Crimson all make their influences keenly felt here. In fact this album has the potential to be a modern classic of the genre.
However it falls some way short of such potential. The problem is that it is too much of a tribute. The strongest moments are the moments in which there is still some of Opeth’s identity in the sound. The brooding atmospherics of even their most tranquil excursions of past times is what has made them the landmark band that they are. At times such atmospherics are intriguingly absent, at others they are disappointingly so.
'Heritage' is a strong first step into a new world for Opeth but when 'Famine' opens with a wonderfully played flute part one cannot help but think for a moment that they are listening to Jethro. Opeth’s influences are worn just that little bit too much on their sleeve on this record. It is still very impressive but there will clearly be a wait for a prog rock record that is true Opeth and true prog rock, rather than just the latter.
'Heritage' is out now via Roadrunner records. Opeth tour the UK in November with support from Pain of Salvation.
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One could be forgiven for thinking that, with a title like 'Heritage', Opeth’s tenth observation would heavily reference the band’s roots and still punch a heavy prog metal kick despite the lack of harsh vocals. Such suspicions genuinely could not be much further from the truth. 'Heritage' is as old school as modern prog can possibly get. From the cover art, which is as seventies as artwork comes nowadays, to the production, this is a classic prog rock styled record. For guitar aficionados the most noticeable change in the sound is the obvious use of more traditional guitars with single coil pickups rather than the humbuckers that used to give the band their roaring metal tone. However you don’t have to be a musician to pick up on the differences. 
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