In 1994, BraveWords & Bloody Knuckles magazine was born and here we stand 30 years later celebrating the past 12 months of music on our anniversary! What an incredible ride it has been and it’s far from over! And during the past three decades, we’ve literally seen/heard thousands of releases and this is the time of the season when we crown the finest! The BraveWords scribes have spoken, so join us each day this month as we count down to the BravePick of 2024!
Remember, everybody has an opinion and it’s time for ours! Stay tuned at the end of December for BraveWords’ writers’ individual Top 20s (new studio albums ONLY), Top 5 Brave Embarrassments (a fan favorite!), What/Who Needs To Stop In 2024? and Metal Predictions For 2025.
BravePicks 2024
26) OPETH – The Last Will And Testament (Reigning Phoenix Music)
To growl or not to growl? That is the question. Of course there are many other factors to determine the quality of a new Opeth album. But yes – there are indeed growls, and they are ferocious on the Swedes’ newest longplayer The Last Will And Testament.
Mikael Åkerfeldt has found the right balance of musicianship and soundscapes, blending prog, weirdness, harshness, and chilling passages to create this monster concept about a man’s life and his well with nasty, dark secrets being revealed throughout. It’s an album that could come from the mind of Åkerfeldt and we are grateful for it as The Last Will And Testament finds its resting place at #26.
Scribe Rich Catino gave the album a glistening perfect 10, saying if fans “enjoyed In Cauda Venenum – then this album will be equally satisfying”; an excerpt of his review:
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.
BravePicks 2024 Top 30
27) DARK TRANQUILLITY – Endtime Signals (Century Media)
28) MORGUL BLADE – Heavy Metal Wraiths (No Remorse)
29) THE DEAD DAISIES – Light ‘Em Up (Independent)
30) MÖRK GRYNING – Fasornas Tid (Season Of Mist)