It's always a musical and emotional journey listening to an Opeth album. Many questions arise – will it be melodic death metal, how progressive will it be, will the vocals be melodic and will there be any new instrumentation? 

This 14th studio album, each song (with the last one the exception) is titled by a section sign (§), as per the definition a typographical character for referencing individually numbered sections of a document. The concept is set in the post-World War I era, the story of a wealthy, conservative father whose last will and testament reveals shocking family secrets. I am listening to a stream so it’s good to pick up a format that includes lyrics. 

Musically, it’s progressive as you would want it, with first single and opener begun by drum patterns and melodic guitars before the rhythm kicks in to familiar musical territories, the death metal vocal a counterbalance to the melodic parts, representing two emotions. And for Opeth it’s nothing new and works for the composition as it travels from hard to melodic parts, Hammond organ, and guitar solo. After becoming familiar with Opeth, you know this all works within an arrangement. The last minute ride out incorporates a melodic orchestral part, voices that flows right in to “§2” which at the start is angry and aggressive, music and vocally. But then all of a sudden, a switch to a melodic verse with another orchestra piece and spoken words with Joey Tempest (Europe), to further the story. 

Akerfeldt says, "Joey does this call and response with Ian (Anderson, Jethro Tull)." Midway through there is more Hammond organ or Mellotrons, and Åkerfeldt really embracing his singing voice. “§3” begins feeling like a Dream Theater song, and I like it. But then it drops in to Opeth world, the bass line moving along the piece, also allowing some space to be heard with Mikael singing melodic without need of the counter tenor to express feeling; could be my favorite song. Longest song so far at seven minutes, “§4” begins with more of the busy drums patterns thus far, and a layered back and forth between the melodic and death vocal. Is this also where a Cittra guitar was used? And more flute by Anderson. 

“§5” moves about between the bass and drums dance, aggressive and growled to soft delicate parts, string accents and orchestra with bright vocal spot. This one is a big musical expressive movement. “§6” is the more "straightforward" arrangement with keyboards and guitar solo, plus a mellow ride out. More spoken words continues the story during “§7”, and "A Story Never Told" is a ballad closes the album with beautiful piano, various added accenting sounds, orchestration, guitar solo, and Akerfeldt’s melodic vocals the whole time. 

If you enjoyed In Cauda Venenum – then this album will be equally satisfying. It also gives more of the death metal vocals for fans of that style.