Opeth's 'In Cauda Venenum' - Album Review

Over the past couple of decades, there are few progressive bands that have been producing music as challenging or diverse as Opeth - at least in the 'mainstream'. While I am sure there are plenty of underground progressive acts that are pushing boundaries further, in the world of major labels and 'big' names Opeth are often a stark contrast to their peers. While many bands establish a formula early on in their career, Opeth continue to evolve and redefine their own identity - sometimes to the chagrin of their fans. For the most part, each Opeth album stands alone as an example of the band's - or, more importantly, bandleader Mikael Åkerfeldt's - headspace at the time it was written and recorded. There are certainly similarities and threads that link the band's discography; from their raw, heavy 1995 debut album Orchid to 2016's delightfully retro Sorceress (which I reviewed here); but, on the whole, each album has its own identity. It is this that makes Opeth such an interesting band, and also what makes them a hard band to truly digest. I have been listening to Opeth's music for a good number of years now, but I still think there is much for me to discover. They are one of those bands that I have to be in the right mindset to listen to, which means that sometimes I can go for months without listening to any of their stuff. This is often the case for truly progressive bands in my opinion, and a sure sign that a band creates music that is sincerely interesting. It is quite reasonable for someone to consider themselves a fan of Opeth, but be completely turned off by portions of their discography. Not all of the band's wide tapestry of sounds is for everyone, and I think that shows that Åkerfeldt truly creates the music that he wants to at any given time - which is always great to see. Opeth are not a band to follow trends or to give in to fan pressure, and this is something that should always be applauded and respected - as no-one honestly wants to see the band churn out half-baked material just to please a certain section of the fanbase. The fact that there are still plenty of people who are unhappy that the band have moved away from their progressive death metal roots over the past decade or so is testament to this willingness to push boundaries - which is the mark of a true progressive act. The band's recent output has certainly been divisive, but it is also full of passion and excellent songcraft. While I still struggle a bit with the overt jazz and folk influences found on 2011's Heritage, the two albums that followed it are excellent - with Sorceress in particular impressing with its rich, warm sound that is a real throwback to the 1970s. The band's new album, In Cauda Venenum, is similar. It is the band's thirteenth studio album, and is the sound of a band that is confident and happy with their current position. In Cauda Venenum is probably not quite as retro-sounding as Sorceress, with the production less old-school sounding, but it does feel like something of a natural progression - while still crafting its own identity in Opeth's catalogue. Two versions of the album were released, one with English lyrics and one with Swedish lyrics, and the version that I have is the one in English.

The album's opening track is an eerie and unsettling sounding retro instrumental piece called Garden of Earthly Delights. I am always amazed by the way, especially on 2014's Pale Communion and Soreress, Opeth have managed to retain the bleak landscapes created on their much heavier earlier works and transpose that over to a more retro sounding progressive rock sound. A big part of that seems to be down to the keyboard playing of Joakim Svalberg, the band's relative new boy, who has really impressed from Pale Communion onward. Garden of Earthly Delights is essentially all him, and his retro synths swirl and pulse around to create a dense soundscape, while the occasional sound of tolling bells and the odd Swedish spoken word section cut through the Mellotron and synth textures. It is a bit of a surprise then when the band launches into Dignity, a harder rock piece with some strong Uriah Heep vibes from the off. High-pitched, wordless vocals kick off the track, with Svalberg's Hammond organ adding some retro grit - before either Åkerfeldt or fellow guitarist Fredrik Åkesson launch into the first of the album's many solos. As with Opeth's previous albums, the songs here are quite varied and often move through multiple sections. Dignity is no different, and after the initial Heep-esque bombast the song reduces itself down to a delicate acoustic guitar passage which Åkerfeldt proceeds to sing over in little more than a whisper. A more bombastic rock passage is never too far away however, and Svalberg often lays into his Hammond to ramp up the power while Martin Axenrot pounds jazzy patterns from his hollow-sounding drums. Many of the songs here take multiple listens to appreciate, but Dignity was one that hit me from the off. In that respect it is a perfect candidate to open up the album with - and it certainly helps to set the listener at ease before the more complex pieces. Heart in Hand is such a piece, although it opens in a similar fashion to Dignity with driving Hammond organ notes and some more off-kilter drumming. The jazz influences that Opeth have always included in their sound have been pushed to the fore over the past decade or so, and it is has certainly helped the band to branch away from their heavier roots. That being said however, there are actually shades of the band's older sound here for me - with an overall heavier tone and a greater emphasis on fast-paced guitar riffs. This is not a death metal track by any means, but at times it is probably the heaviest the band have sounded since 2008's Watershed. Åkerfeldt and Åkesson seem to particularly enjoy this heavier assault, often laying into shredded guitar solos that are much more metal that anything the band has done recently. I really like the more chaotic approach to the track, and there is a portion about two thirds of the way through which descends into a pure jazz-fusion wig out - before the craziness is completely stripped away to be replaced by a whimsical vocal and acoustic guitar combo. The weightiness continues on throughout Next of Kin, a track which builds on the heavier tones of the previous song but delivers them in a somewhat more straightforward way. Old-school Sabbathy riffs are never too far away, and they allow Åkerfeldt to let rip vocally. He has really grown into an expressive and emotional vocalist over the years, and some of the work throughout In Cauda Venenum is his best yet. He oozes power here, yet knows when to reign it in - which is usually when a delicate acoustic passage takes over. This song is overall less progressive than the previous two however, but that is by no means a bad thing. Opeth have always been influenced by 1970s hard rock bands such as Deep Purple and Rainbow - and this track sees them showcasing that side of their sound a little more, with a screaming solo to match!

Lovelorn Crime is a more laid back piece, and something of a true ballad - a rarity for Opeth. The early portions of the song are dominated by Svalberg, who's ringing piano melodies are the perfect backdrop for Åkerfeldt's heartfelt vocals. For a band that is more known for their complex compositions and divisive arrangements, Opeth are certainly fronted by a truly wonderful singer. His performance here reminds me of many of his prog heroes - and the song somewhat reminds me of The Moody Blues with Åkerfeldt channelling his inner Justin Hayward. The band soon join in, with Axenrot's drums adding a monotonous tone which backs up the sombre vibe. Some fans had an issue with the production of Sorceress, which did go for a full-on retro sound; warts and all, but I do not think that anyone can complain this time around. In Cauda Venenum sounds gorgeous from start to finish, and that is demonstrated here by the song's guitar solo. Sadly the CD's booklet does not credit each solo, but from reading interviews with the band it is clear that this lengthy and emotional piece of music is courtesy of Åkesson - who just knocks it out of the park. I was not expecting to hear something so emotional on this album, and when I first heard the song I was somewhat taken aback. The phrasing and note choice is perfect, and fans of players like David Gilmour and Steve Rothery will certainly find a lot to love - as this solo is up there with some of their best. It is easily my standout moment from the album, and elevates the song from being great to being a true highlight. Charlatan returns to the weightier sound established earlier after the previous song's respite, and immediately establishes itself as a memorable piece with a strange Gojira-esque guitar riff that is packed full of groove and attitude. While not as heavy as Gojira, the riff is certainly something that the French band could have come up with - but pushed through a retro prog filter. That jazz influences are back here too, with Svalberg often operating in his own little world. While the two guitarists and bassist Martín Méndez often lock in together to establish the grooves, it is Svalberg that provides the melodies - which come in the form of free-form jazz licks and motifs. As a result the song is not easy to latch on to, but it is one that rewards repeated listens - preferably loud ones! The riffing and grooves here are just so powerful, and the Patrick Moraz-esque keyboard dalliances push the track towards sonic plains the band have not truly reached previously. Fading out with a Monks' choir is a final twist, but one that shows that the band like to keep us guessing. In comparison, Universal Truth is a much more straightforward track. It opens slowly with some clean guitar passages that feature some of Åkerfeldt's highest vocals, before rockier sections kick in with simple driving riffs and walls of retro keyboards. This sounds a little like a track that could have been on Sorceress, as it features more of a focus on retro warmth than many of the other songs here. There is Hammond organ all over the piece, and the Eastern-esque melodies seem to recall The Seventh Sojourn from the previous release. The more acoustic-based sections are more typical of In Cauda Venenum's sound however, making this piece seem like something of a transition between to the two albums despite one album naturally following the other.

The Garroter opens with a free-form classical guitar passage, which starts off quite traditional before descending into a flurry of notes. This is quickly replaced by Svalberg's slow, sombre piano lines which instantly changes the tone from one of chaos to one of order. This is track that really leans heavily on the band's progressive influences, with plenty of mood and tone changes throughout - with the opening switch between guitar and piano being just the start. There are heavier tracks here, as much of the song is fairly laid back with intricate acoustic guitar passages and dense keyboard textures, but the occasional weighty riff and drum pattern kicks in to spice things up somewhat. This is another song where the instrumentalists seem to give themselves a lot more freedom. Méndez holds everything together with a strong bassline, but everyone else seems to be operate on their own with occasional bursts of spacey lead guitar and Axenrot's subtle-but-varied drumming. It is another song that has grown on me over repeated listens, but it is one that I feel is a bit too jazzy for me to truly love. I appreciate the band's love of jazz, but it is personally not something that I really enjoy - apart from in small doses. Many of the songs here incorporate it just enough to make it effective, but The Garroter steps a bit too far over the line for me. It is still a fine track, and fans of bands like Gong will certainly find a lot to love. Continuum opens rather strangely, around Axenrot's drumming, but largely is another more laid back piece - with prominent retro keyboard melodies and clean guitar lines. There are lengthy passages like this, with Åkerfeldt whimsically singing atop them, which helps to lull the listener into a false sense of security as the heavier sections kick in. These moments are used fairly sparingly throughout the song, but this only helps them to be much more effective when they do appear. Svalberg's Hammond drives these moments, with the guitarists adding with with slabs of fuzzy guitar. One of the moment also includes a screaming guitar solo, which is one of the song's highlights. Many of the solos throughout the album are more concisely-phrased, but this one is a real moment of reckless abandon with fast-paced shredded notes pouring out of the speakers. It works really well in the context of what is a bit more of a uniform track, especially considering the jazz influences found throughout The Garroter, and again keeps us guessing. The album comes to close with All Things Will Pass, the album's longest track by a second and a good culmination of all the sounds heard throughout. It opens with a spooky keyboard and guitar combo, which recalls the album's opening instrumental track, before building up to an expansive Hammond-led doomy passage that again recalls early Uriah Heep. After hearing this album I would love to hear Opeth covering some classic Uriah Heep, as I reckon they would do an excellent job with the band's songs! The Heep-esque moment resurfaces fairly often throughout the song, but it is again split up with more delicate passages and a section built around Axenrot's lumbering drumming. Due to the song's length there is a lot to be discovered here. As I am writing this piece I noticed a keyboard-led section that seems to recall melodies from Lovelorn Crime's stunning solo which works fantastically, and goes to show that In Cauda Venenum is something of a complete album experience rather than just a collection of songs. Overall, for me at least, this is the strongest Opeth album for some time - maybe since Watershed although Sorceress runs is close - and one that is continuing to reveal its secrets. 2019 has been a strong year for new releases, and Opeth have never found themselves on my Album of the Year lists before - but some further listening to In Cauda Venenum may just see it sneak over the line come January. All prog fans, young and old, should check this out.

The album was released on 27th September 2019 via Nuclear Blast Records. Below is the band's promotional soundclip for Svekets Prins - which is the Swedish language version of Dignity.