Swedish metal band Opeth certainly have changed over the past several albums. Originally starting as a progressive death metal group, they’ve since dropped the death metal aspect and have since turned into a more prog rock/heavy metal group, trading distortion for fuzz and adding a lot more keys. Perhaps the last time we really got a full taste of their roots was the 2008 album Watershed, an album that was met with critical acclaim and has since become a fan favorite. Since then, we’ve gotten Heritage and Pale Communion, both albums that embrace the more 70’s styled prog rock of bands such as Camel, Brand X, King Crimson, and the like.

Next week brings Sorceress, their 12th studio album. Featuring 11 tracks with titles such as “Will O the Wisp”, “Strange Brew”, and “A Fleeting Glance”, the question that many have is does this album challenge listeners the way pretty much all of their previous albums have or has Opeth reached a dead end?

Opeth have always been unpredictable. Damnation was a risk that they themselves admit to being apprehensive about releasing. After all, a death metal band releasing an almost entirely acoustic album with no growls or distortion? Yeah, that’s a risk no matter how you look at it. However, the fanbase recognized that this was something the band had already incorporated into the earlier material and it was just being given its own platform to shine. They recognized the strength of this kind of Opeth.

I bring this up because while Sorceress takes elements of their earlier works, and is essentially a continuation of the past two albums, it doesn’t feel like the band had their hearts fully placed here. Yes, they play exceptionally well and each stands out but I’m not talking about their performances. I’m talking about the music itself. Too many times does it feel like the band doesn’t know how to progress in the song, so the transitions they fell upon can be sudden or jarring. “Strange Brew” makes this apparent when a beautiful but sudden guitar solo comes in around the 1:30 mark, only to itself be overtaken by a frantic passage just over 30 seconds later.

Many of the riffs across the album are heavy as hell, no doubt about it. The fact that the band doesn’t have the distortion cranked doesn’t change the fact that these are some tasty licks. Heaviness doesn’t come from distortion, it comes from the heart. The band has said that this album would be “darker” and it certainly fits that bill. “Sorceress”, “The Wilde Flowers”, and “Chrysalis” are perfect examples of this.

One of my favorite tracks is “Sorceress 2”, which walks a fine line between light and dark. There are moments where the acoustic guitar plays almost heavenly passages only to suddenly twist like a serpent into something far more sinister. Meanwhile, the majority of “The Seventh Sojourn” is a Middle Eastern-influenced instrumental that isn’t all that exciting. However, it has a gorgeous ending that features distant, almost monastic vocals and a twinkling piano melody.

A big positive here is just how dynamic Sorceress is. Those who listen to this while wearing headphones should pretty much be always ready to adjust the volume because it goes from whisper quiets to roaring riffs. I love albums that do this because I choose to leave my volume at one level, forcing me to strain to hear the quiet and being blown away by the loud.

The Final Word: Sorceress isn’t a bad album by any stretch of the imagination. I don’t think Opeth even know how to put out a bad release. However, it doesn’t push the band into any new boundaries, which is what I feel every album beforehand did.