Longest-serving Opeth member Mikael Åkerfeldt joined the band in 1990. Over the decades the guitarist/vocalist’s vision shaped the Swedish band’s sound, slowly but steadily integrating progressive rock elements into a death-metal blueprint.
Previewing their appearance at the Bloodstock Festival in Derbyshire next month, Åkerfeldt talks about festivals, ‘Åkerfest’, and things he can’t talk about.
Opeth have appeared at Bloodstock several times. Where does it rank in the global pantheon of open-air live events?
I always enjoy Bloodstock. It’s not as huge as, say, Hellfest or Wacken, but in my mind it’s one of those cosy festivals that seems to have a genuine interest in metal.
You once joked – or maybe half-joked – that Opeth could play at a death metal festival one day, and the next day share a stage with the Pet Shop Boys.
I don’t remember saying that, but there’s some truth to it. We do play mainstream festivals, and it’s not unusual for us to play on the same day as Nik Kershaw. As acceptance of us has grown, we are more welcome at mainstream festivals than a band like Morbid Angel.
So if Glastonbury called?
I don’t think it’s too likely. But for me, Glastonbury has an interesting prog history. I’ve got the Glastonbury Fayre record [a triple album from ’72, featuring Hawkwind, Gong and the Pink Fairies]. For that reason I wouldn’t mind playing there.
Which six bands or artists, still around or not, would you hire to perform at Åkerfest?
For my choices I’m going to pick specific years. Black Sabbath and Deep Purple – 1971. Ritchie [Blackmore] would be on double duty, also playing with [Rainbow’s] Rising line-up. I’d also want the version of the Scorpions that recorded Lonesome Crow [1972]. Shit, this is such a great question. Scott Walker would be transported in from 1969. And I always wanted to see the fantastic prog band Gracious [who released albums in 1970 and ’71], so they’d be there too.
Opeth recently completed their fourteenth studio album. What can you tell us about it?
It’s still a bit too early for me to talk about that.
Are there any special guests on it?
I’m under instruction to keep things under wraps, so I’ll keep things extremely vague. I have been in touch with [Jethro Tull’s] Ian Anderson about something. Emails were exchanged, containing something that could be described as music. Is that a good answer?
As good as we’re going to get, by the sound of it. Might we hear a new song or two at Bloodstock?
No. Firstly, I don’t like playing new songs until people have heard them [on record]. Secondly, Bloodstock is a ‘by request’ show, with a set picked by the audience.
What do the band have lined up for the next twelve months? And any side-projects?
Actually, I have. But of course I can’t talk about them yet. For one, I signed my very first NDA [non-disclosure agreement]. It’s that type of shit. But yeah, I’ve done some music for a film, but I can’t say which one.
Is there likely to be a follow-up to Storm Corrosion, the 2012 album you made in collaboration with Steven Wilson?
Yeah. Me and Steve have been talking about that. I went to see Steven in London to talk and to drink [laughs]. There is a reissue of that album coming out, and Steven has done a new Atmos mix. So I pitched the idea of a possible next record from Storm Corrosion. He didn’t really buy into my suggestion. That’s a shame.
Why not?
Steve doesn’t want to send music [over the internet]. He prefers us to make it together in the same room. But I’ll bring it up again, and I’m sure we’ll do something new. Should it happen, I would like us to do a requiem, something completely overblown.
Opeth headline Bloodstock on Friday, August 9, and have European festival dates throughout the summer. Their 2024 US tour begins on October 11 in Milwaukee. For full dates, check Opeth's website.
