Per Wiberg, an outstanding multi-instrumentalist, is known for having been part of Opeth, at a time when the Swedish combo was making a name for itself in progressive death metal from 2003 to 2011. Since then, the musician has multiplied his projects and this year released his first solo album under his own name. So of course, those who have been able to appreciate his work in the past will be excited when they hear this news. Nothing could be more normal given the CV of this neo-50 year old.
It is in a mysterious atmosphere that the first track, "Let The Water Take Me Home" starts, which will only really start at the end of the journey. The track intrigues and seems to wander in an intermediate airlock, between a rather black and calm landscape and a stronger aspect with an alternative rock influence. On 'Anywhere The Blood Flows', the multi-instrumentalist seems to have made his choice and it is a trendy alternative rock atmosphere tinged with garage rock that is taking shape. Nevertheless, the composer seems to be struggling to find his way. And for good reason, it takes more than six minutes to stop the cycle during which you loop on a single chord! The lack of inspiration in the second part does not bring much more to the composition.
After eleven long minutes, and while an evolution is urgently needed, 'Pass On The Fear' could not have come at a worse time. We hit the bottom on this six-minute long track, devoid of mind and melody. The singing even seems to sound wrong on the choruses so much this piece does not have the slightest musicality. And even if 'Pile Of Nothing' relaunches the machine in its own way with its interesting chorus, it is still not enough to arouse general interest.
However, an encouraging point is to be welcomed. Indeed, there is a real atmosphere on "Heads Without Eyes". The dark and black aspect of the six tracks gives off a sometimes unhealthy osmosis ('Let The Water Take Me Home'), sometimes energetic ('Get Your Boots On') quite coherent. From time to time, we even seem to sink into the abyss like on 'Pass On The Fear' with its plaintive music and the unease it successfully distils. If this aspect and this artistic choice, we must concede, are a real asset, provided we appreciate this darkness, different tracks of the album won't certainly be unanimously accepted.
In view of the Swede's experience and his current and past collaborations, one could have expected better. So let's hope that the general level goes back to its next achievement. In any case, that's all the evil we can wish him!