Notice
Firstly, Fredrik Thordendal use a breath controller on the lead parts. This is a device that, when activated, controls the volume of the guitar signal depending on how hard the user breathes into it.
In the intro, Thordendal sustains the minor 2nd chords for one bar each and breathes sharply into the controller to create the staccato quarter-note effect. Then, in his first guitar solo, he uses the device to fade notes in, either slowly or sharply (which creates a quasi-palm muting effect). Of course, you can approximate the controller's sound in other ways, yet it's worth noting how these parts are actually played.
Although the second solo is completely atonal, Thordendal's first solo is in the exotic scale C# Major/Spanish Phrygian, which contains the following notes: C# D F F# G# A B. It's an awesome solo to play with and once you understand the fingerings you can make some very cool note choices.
Finally, there is quite alot of polyrhymical interaction between the guitars/bass & drums in this song. Throughout most of the 1st half of the song Thomas Haake is suggesting 4/4 with his drums, yet Thordendal, Marten Hagstrom and Peter Nordin playing riffs which imply time signatures like 17/16 and 5/4. At one point later on, Haake is playing 4/4 while the rest of the band grooves in 4/4, 3/4 (or more simply, 7/4, hence the name) over the top of him. These polyrhythms have been indicated on the score, hopefully it makes counting the song easier.
Adding a bite of distortion to your tone will help you approximate Peter Nordin's dirty, grungy sound. He briefly switches the distortion off during the song's cleaner parts - it's been notated for you on the score.
Also, be sure to use a pick to get the correct attack. All the same polyrhythmical concepts discussed in the guitar perf. notes apply to the bass part as well.
