LIVE REVIEW: Opeth @ The Roundhouse, London

It would be tough to argue against the notion that OPETH are one of the most significant metal bands of the 21st century. Endlessly varied yet instantly recognisable, the brainchild of Mikael Åkerfeldt have amassed a rich catalogue and displayed mastery of progressive and extreme music in all its forms. 2024’s The Last Will And Testament was its best new addition in a decade, and as part of their Europe and UK touring cycle to promote it, OPETH made a sold-out stop to iconic London venue The Roundhouse.

Support comes in a diametrically-opposed fashion, in the face of traditional metal merchants GRAND MAGUS. The Swedish three-piece hit the filling-up Roundhouse with a doom-tinged brand of classic heavy metal, featuring uncomplicated riffs, catchy hooks and rip-roaring guitar solos. Frontman and lead guitarist Janne ‘JB’ Christoffersson is visually striking on stage, looking like a jacked younger version of Rob Halford, but his somewhat awkward stage banter between songs fails to connect. Still, the progressively-minded crowd responds positively to the rock n’ roll stylings of the Stockholm trio, capped off with a stunning audience singalong for set closer Hammer Of The North. More of an amuse bouche than an appetizer, GRAND MAGUS whet our appetite for the altogether more indulgent main course that’s to follow.

Rating: 6/10Opeth live @ The Roundhouse, London. Photo Credit: Karolina Janikunaite

The dimmed stage and the five silhouettes on it are suddenly illuminated by the ‘frame’ of disjointed screens that surrounds them, projecting artwork from The Last Will and Testament, as its opener §1 echoes through the North London venue. The shiver-inducing melodies and a growling Mikael Åkerfeldt are here to announce OPETH in all their glory. A double of fan-favourite epics Master’s Apprentices and The Leper Affinity follows to cement this impression, serving more head-ripping riffs in two songs than most bands write in an entire career.

These modern metal classics sound extra vibrant and exciting, and a big part of this is the inclusion of new drummer Waltteri Väyrynen (ex-PARADISE LOST). The thirty-year-old has injected new lifeblood into the quintet through his playing style that is aggressive, yet marked by dynamism and subtlety. His first recorded work sees him come up with some stunningly challenging drum parts – and Åkerfeldt himself jokes about the stupidly complex jobs they’ve given themselves while introducing §7 – but the band sounds like a well-oiled machine.Opeth live @ The Roundhouse, London. Photo Credit: Karolina Janikunaite

While the return of the death metal stylings are the topic of the day for OPETH, the Swedes don’t neglect to give a nod to their softer side. Deep cut Häxprocess gives us a reminiscence of the cult 70s folk-prog concerts that this historic venue has seen, whereas ballad In My Time Of Need sees the crowd relieve Åkerfeldt of singing duties during the choruses. The frontman is on familiar good form tonight, cracking dry jokes and exuding an aura of complete confidence. His high watermark comes after a peak in the set itself – the jubilant reception to Ghost Of Perdition makes him exclaim “haven’t we been fucking great tonight?”. Yes, Mikael, you bloody have.

The odd thing about an OPETH concert is that it can only ever scratch the surface. Two hours of playing only encompass ten songs and entirely gloss over some of their most beloved albums, yet main set closer A Story Never Told once again cements the great reception of the new material. The encore is time to land the plane home safely. Sorceress crushes with its bulldozing main motif, while Deliverance – a song steadily becoming their equivalent of Free Bird – finally brings us to progressive death nirvana.



Simultaneously virtuosic and direct, with a live show that makes your jaw drop at its technical brilliance while maintaining a lightness of touch, OPETH remain a live force to be reckoned with.

Rating: 10/10

Check out our photo gallery of the night’s action in London from Karolina Janikunaite here:
























































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ALBUM REVIEW: Aether – Forlorn

Folk horror is thriving in the 21st century, with even those who usually avoid scary stories showing up for the Wicker Man-indebted Midsommar in their millions. It’s no surprise this renaissance is inspiring a new generation of rockers: Ben Wheatley’s A Field In England has influenced modern riff masters GREEN LUNG, for example, who sing of rituals and pagan gods. Now, FORLORN pay tribute to the elements on Aether, blending the old ways of the world with the metallic intensity of the new.



What’s most surprising is just how far Aether strays from preconceived notions of folk influenced metal. Coming hot on the heels of SPIRITBOX’s Tsunami Sea, both bands could easily trade riffs on a song like Funeral Pyre, FORLORN’s ode to fire. It is groovy and downtuned, sounds that are in vogue rather than eternal. The band lean on this juxtaposition to find their voice, describing themselves as fusing paganism with crushing soundscapes. Folk rock purists might turn their noses up at musicians taking influence from the present, but in doing so, the band find ways of preserving tradition by presenting it in a fresh way. More of the same this ain’t.



For the record’s more contemporary passages, singer Megan Jenkins puts on a ferocious performance. Her screams bring Angela Gossow of ARCH ENEMY fame to mind, infused with the depth and agony so few of her peers were capable of. Jenkins has a monstrous growl, but she’s as comfortable in Aether’s more ethereal moments, when the dense fog clears and her voice acts as an anchor among the maelstrom. She is our guide over the metalcore breakdowns and through gothic choruses.


Just like the elements, the vibe here is changeable. Creatress has a progressive structure, on which thick power chords give way to symphonic black metal style blast beats, fusing unpredictable ingredients that mimic the untameable organic – and the spiritual – world. This is a record that begins with an incantation, ‘praise Hecate of the underworld’, keeping a foot in the mythical even when, say, Keeper Of The Well’s hellishly low riffs sound very 2025.

Fans who have followed FORLORN up till now may be a little disappointed with how little is new on Aether. Of its eight tracks, three are interludes, and four of the others are available on streaming ahead of the record’s release. The Wailing, the most substantial new track here, is a highlight, finding creepiness both in atmospheric dread and in just how horrifying distorted instrumentation can sound. But as it is, Aether could have benefitted from keeping a few more tricks up its sleeve.



Still, Aether is a heck of a debut, and a proper introduction to a band who appear to have found their voice among both folk and metalcore acts in quick fashion. Already, a FORLORN song stands out on any playlist thanks to the way they command everything at their disposal to cast their unique spell. It’s another win for Church Road Records with FORLORN, who on the strength of what’s offered up on Aether, will have so much more to say, and all of it worth hearing.

Rating: 8/10