Therion - CD Collection (1991-2010)

Therion is a Swedish symphonic metal band founded by Christofer Johnsson in 1987. The word 'therion' comes from the Greek therion (θηρίον), meaning 'Beast,' i.e., that of the Christian Book of Revelation. However, the band's name is a homage to the Celtic Frost album To Mega Therion. Beginning as a death metal band, they later turned to combining orchestral elements with their metal music, employing heavy use of choirs and classical musicians, not only as additions to but also as integral parts of the composition. Therion is the first metal band with fully live orchestra featured. It is also the band which originated, popularised and influenced the symphonic metal genre, cited as 'the most adventurous metal band at present'. Because of these extents they take in conducting their music, they have been dubbed as 'Opera Metal'.

Therion's music takes its themes from different mythologies and is based on concepts ranging from occultism, magic and ancient traditions and writings. The majority of their lyrics are written by Thomas Karlsson, head and founder of the magical order Dragon Rouge, of which Johnsson is a member. The band has seen many changes in line-up and style throughout its history.

Therion's Homepage
Wikipedia
Nuclear Blast - About Therion
Metal Storm
Encyclopaedia Metallum

At a time when death metal verging on protest music, Therion brought forth an album that took its listeners on a descent into the dark and primordial world of the subconscious, then built from a sense of mystery within it and concept of existence beyond the obvious physical and numeric manifestations of modern society. It is an album intensely divided, being culled in parts and whole from three demos, and still retains the absurdly straightforward lyrics decrying pollution and negative politics as it merges into the more enchanted territory of psychological symbolism.

Tracklist:
01. (5:14) The Return
02. (4:00) Asphixiate with Fear
03. (6:05) Morbid Reality
04. (4:11) Megalomania
05. (4:48) A Suburb to Hell
06. (5:15) Genocidal Raids
07. (5:08) Time Shall Tell
08. (4:50) Dark Eternity
Bonus Tracks:
09. (5:19) A Suburb to Hell (Demo version)
10. (4:41) Asphixiate with Fear (Demo version)
11. (4:07) Time Shall Tell (Unreleased version)
12. (4:20) Dark Eternity (Unreleased version)

In this its guide is the flawed but ambitious Celtic Frost album 'Into the Pandemonium,' which it resembles aesthetically and musically, although '…Of Darkness' is clearly from a later generation that has already incorporate the essence of rudimentary death metal into its vocabulary. To that raw and guileless genre Therion add a sense of enigmatic majesty in the creation of bassy catacombs of musical pathways that lead to oblique directional shifts, staggering possibilities inside of a major theme of hollowness with mortal weight. At the time of its emergence, this refuted both the functionalist 1980s and the pacifistic, materialistic futurism of the decade that followed. What defines this album as an art work are the hints of mystical union beyond its thunderous heavy metal and death metal mechanics, a sense of expectation and undiscovered potential in the atmospheric sonic gestures – somnolent basslines silhouetting a chord progression in ambiguous harmony, evaporative lead guitar fomenting chaos and then lapsing into oneiric circular harmonies, unexplained fallings-away into the promise of a partial chord or ambulatory tempo – that indicate not so much a clear function to sound, but its role as introduction to possibility.

Atmosphere forms like fragments of vapor condensing on a suddenly chilled night to form the forest miasmas that from a distance trap light and appear to have their own luminous glow, and is maintained by our inability to ever approach it as listeners: we are anchored in the unstoppably infectious rhythms of these timeworn songs, combining bounding heavy metal riffs with the fluid columnar riffs and staggered or arpeggiated inverse breakdowns of death metal, and yet from the other side of that solidity something beckons. At first glance, this is a standard death metal band from the era, with deep vocals alternating with hissed shrieks, and detuned guitars thundering in a progression of riffs built around a succession of not as much notes as patterns anchored in certain tonal positions; drums are more like a rock or 1970s heavy metal band than the faster and more fill-intensive work of later metal, and bass doubles chord roots in eights. Yet for all the music of this era, there are few examples that match this mysterious and rewarding album as listening experiences.

Staging within dynamic spatial pattern a sequence of tonal transitions to familiarize the listener with range of tone and shape of motion, the second death metal offering from Therion defines its locations to be manipulated through the ongoing descriptive narration of inter-evolutionary riff progression as motifs variegate with dark power chord riff and its counterpart in melodic and agile lead playing which shows the recent crowd of Göthenberg clones how an open and passionate mind sees the creation of sequence in tone. Its study in metal anchored in recurrently synchronistic cyclic riffing using muffled chords to punctuate sequenced phrases, begetting a technology of pattern logic which allows its narrative strength to reveal in music a cerebrated theory of the dark emotions and their existential relevance.

Original Tracklist:
1. Future Consciousness (5:01)
2. Pandemonic Outbreak (4:21)
3. Cthulhu (6:12)
4. Symphony Of The Dead (6:49)
Lead Guitar – Magnus Eklöv; Vocals – Anna Granqvist, Fredrik Lundqvist
5. Beyond Sanctorum (2:36)
Lead Guitar – Magnus Eklöv
6. Enter The Depths Of Eternal Darkness (4:46)
7. Illusions Of Life (3:20)
8. The Way (11:06)
Music By – C. Johnsson, P. Hansson
9. Paths (2:03)
Music By – P. Hansson* Vocals – Anna Granqvist, Fredrik Lundqvist
10. Tyrants Of The Damned (3:43)

Reissue Tracklist:
1. Future Consciousness (4:58)
2. Pandemonic Outbreak (4:21)
3. Cthulhu (6:09)
4. Symphony Of The Dead (6:48)
Guitar [Lead] – Magnus Eklov Vocals – Anna Granqvist, Fredrik Lundberg
5. Beyond Sanctorum (2:35)
Guitar [Lead] – Magnus Eklov
6. Enter The Depths Of Eternal Darkness (4:45)
7. Illusions Of Life (3:20)
8. The Way (11:06)
9. Paths (2:01)
Vocals – Anna Granqvist, Fredrik Lundberg
10. Tyrants Of The Damned (3:47)
11. Cthulhu (Demo Version) (6:11)
12. Future Consciousness (Demo Version) (5:07)
13. Symphony Of The Dead (Demo Version) (6:13)
14. Beyond Sanctorum (Demo Version) (2:30)

Celtic Frost and Obituary allusions exist as interwoven parts of songs encompassing a narration of distinct textures which deliver through tonal and rhythmic convergence on structural narration a satisfying depth to both aural distance and abstract parsing within mental recombinations of the repeated interchanged symbols of this work. In lyrics and concept in sound and symbol, a mystical interpretive facility suggests harmony with the architecture of each song breathing a transfer of fundamental creation between darkness and motion. Its thick but flexible riffing, percussive shading and accentuation hybridized with a tendency for melodic resolution by way of introducing motif alteration, provide a basis for the experimentative layering of melodies that, with similar techniques also in use by Godflesh, became an important technique for black and death metal to come.

With practiced musicianship illustrating a deft but non-technically-obsessed sense of timing, melody and endlessly inventive gentle articulations of alterative treatment shadowing metal traditionalism, this offering of epic majesty in the artistic revelations of great journeys in solitude survives time for appreciation of its uniqueness and natural vision of power derivations from creation and its opposite. Of note among musical additions to metal are a wiry sonorous soloing that carefully manages its energy to minimize needless drama, and a deft inventive bass accompaniment. Rough vocals merge with textures of tremolo and abrasive timbral strumming.

As in other albums, the passionate voice of emotional contrast gives rise to an unfettered embrace of the world in light and dark, coming close to Burzum in its seeming desire to stimulate fantasy and thought above any form of polarized action. In romanticist metal combine consistency and narrative intensity asserting the distinctive naturalism of this classic of the Swedish death metal from the early nineth twentieth century decade.

Note: Complete Scans are for Original version only!

And bringing their country from the void of abysmal rock, Therion save the day with their newest, Symphony Masses: Ho Drakon Ho Megas (Pavement). The demise of fantasy/dungeons and dragons/H.P. Lovecraft in metal lyrics may have been proclaimed some time ago, but Therion refute this powerfully with their third release in this country, a conceptualized album which combines the best of death metal with older traditions of metal, ending up with something normals can listen to as well.

Therion emerged on the Swedish scene with Of Darkness… (Grind Core), a Celtic Frost-influenced album which took the best of current Eurometal and mixed into it a new perspective on song construction, adding unpredictability to their music and influencing a spawning of European bands. Attention never really came from across the big pond, and consequently Therion are almost unknown to American listeners.

Having done the standard-metal thing well and being sort of bored, Therion detoured into epic rock with Beyond Sanctorum, a well-structured album which took metal beyond the cliches of songwriting, riff-making and general aesthetics it had become accustomed to: the songs varied in tempo widely, weren't afraid to slow down, and broke from more extreme styles to more comfortable ones repeatedly to give the listener a conception of a more limitless world. Lyrics changed from environmental/societal to Lovecraftian fantasy, a thread of writing that continues to Symphony Masses.

Tracklist:
1. Baal Reginon (2:11)
2. Dark Princess Naamah (4:19)
3. A Black Rose (4:02)
4. Symphony Draconis Inferni (2:34)
5. Dawn Of Perishness (5:53)
6. The Eye Of Eclipse (5:02)
7. The Ritualdance Of The Yezidis (2:08)
8. Powerdance (3:07)
9. Procreation Of Eternity (4:06)
10. Ho Drakon Ho Megas (4:20)

A lot of hard rock drifts into this album, but it comes more in the New Wave of British Heavy Metal style than an overblown video-rock processed cheese spread feel, toward which certain other (Met– damn.) bands have migrated. It's well done – better than well done. I don't believe I exaggerate when I say that Therion may be Europe's most underrated metal band, given the attention they've received around here.

But this album is available at least for the time being at Rhino, and I recommend to anyone who appreciates the style of metal Iron Maiden and others used to write in, and wouldn't mind an update to that with some modern metal touches.

Indeed – lurking in the passages of this album are hard-rockish riffs alongside inventive death metal powerhouses, obscured by the general fabric of the material. There are also brilliant lead guitar parts, proving Therion to be one of metal's most technically-versed acts at this time. Jazz-fusion guitar intros, prowling lead guitar, and machine-perfect human drumming fill this album, as well as a real surprise – real bass lines, instead of riff-chasing high-speed runs.

The power of these players combined comes forth in an intricate and concentrated album, intensity without reliance on pure speed or smash appeal. Synthesizers are used here, but not as lead instruments: occasional keyboard riffs protrude oddly, but most the electronically-generated sound comes in background support for expansive riff-structures and other creative blasts. At first the listener may be tempted to group this album with the endless procession of cheesy, heavy blues-rock, pseudo-metallic cheese bands which periodically upset parents, but this is far from that nadir of musical integrity.

Fantastic lyrics and occasional weird chanting appear at appropriate times throughout this album, but if you hadn't realized the inclination of this band to take up metal's oldest lyrical tenet from the title, you can't be much surprised after reading the song names. The title track ('Ho Drakon Ho Megas') is too much chant and synthesizer to really work, but it's unobtrusive, and every other track on this album is solidly excellent – highest recommendations.

Lepaca Kliffoth is the fourth full-length studio release by Swedish heavy metal band Therion. The title refers to the Qliphoth - the representation of evil forces in the mystical teachings of Judaism (such as in the Kabbalah.) The word Qlipoth derives from the Hebrew word 'qelipoth'. The Qliphoth are shells around the Sephirot. They are similar to the Kanchukas in Kashmir Shivaism.

Tracklist:
1. The Wings Of The Hydra (3:33)
2. Melez (4:07)
3. Arrival Of The Darkest Queen (0:54)
4. The Beauty In Black (3:12)
5. Riders Of Theli (2:51)
6. Black (5:02)
7. Darkness Eve (5:19)
8. Sorrows Of The Moon (3:26)
Music By, Lyrics By – Martin Eric Ain; Other [Originally Performed By] – Celtic Frost
9. Let The New Day Begin (3:35)
10. Lepaca Kliffoth (4:26)
11. Evocation Of Vovin (4:11)

Bonus Tracks:
12. Enter The Voids (4:54)
13. The Veil Of Golden Spheres (2:59)

At its core, this album is crowd-pleasing heavy metal of all the familiar patterns, and although songs are well-written in a technical sense, their void of artistic direction is filled with technique and distraction, giving this album a schizophrenic character. A typical song is a time-honored heavy metal riff and blockhead drum pattern tied to a distinctive even if too familiar melodic pattern, usually borrowed from classical interpretations of Egyptian or Hungarian music. To dress this up as a novel approach to the genre, gratuitous keyboards and chanted vocals and extensive bluesy guitar solos are added. Vocals have degenerated from a death growl to a hoarse shout of rigid cadence, sounding like a dockworker communicating a defect in lift machinery instead of music.

The consequence of this aesthetic salad is to accentuate the rudimentary heavy metal riffs and verse-chorus aspects of song structure, producing profound boredom. Like their inspiration Celtic Frost, Therion seem determined to fulfill the classic rock tragedy of gaining just enough recognition to try too hard for more, at the same time abandoning the hard work and pride in their music that made earlier albums while sometimes amateurish communicative music, and have thus created their 'Cold Lake.' Undeniably, it will be popular because it is easy to listen to for heavy metal fans and, having enough similarity to soundtracks and other recognized 'important' music, will seem like an upgrade to high culture for the great unwashed. Moments here show the same brilliance that crowned earlier Therion albums, but here it is as ornamentation and not structure, melding the aesthetics but not conceptual power of progressive rock and operatic vocals into what is ultimately very cheesy radio hard rock.

When this album came out, people heaped the same praise on it that is now reserved for Opeth, not noticing the similar dearth of ideas. Perhaps Therion are craftier than thought, and realizing that metal's audience was downgrading with the end of creative impetus in death and black metal, decided to be a big fish in a small pool by making distracting and pompous music for fools. Whatever their intent, this carnival music is a sequence of unrelated ideas competing for attention and relying on short attention spans to be taken seriously as a continuity of musical idea, and should be avoided by the serious listener.

Therion's rise to the top of the gothic and metal scenes started with their breakthrough album Theli (1996). On this album they combined classic and metal effectively for the first time. They had big choirs and a lot of classical instruments included on this masterpiece. Over the years, Christofer and his mates focused more and more on this classical thing but without loosing their metal roots.

Tracklist:
1. Preludium (1:49)
2. To Mega Therion (6:34)
3. Cults Of The Shadow (5:24)
4. In The Desert Of Set (5:29)
5. Interludium (1:47)
6. Nightside Of Eden (7:31)
7. Opus Eclipse (3:41)
8. Invocation Of Naamah (5:31)
9. The Siren Of The Woods (9:55)
10. Grand Finale / Postludium (4:04)
The orchestra is The Barmbek Symphony Orchestra, samples and keyboards.

Grandiose, brilliant, unique, extreme! These four attributes describe 'Theli' almost perfectly. THERION combine the two extremes of Heavy Metal on the one and classic/opera on the other side almost perfectly by amalgamating the two ends of these seemingly anti-magnetic styles into a furious symbiosis.

Cracking Metal-riffs and thundering rhythms are running side by side with opera-esque choirs and classical sounds - and it works out brilliantly! With this original mixture, this album serves a sonic attack, which never had been there before (and after), complex in its structure, but still accessible and in a flow.

After a short introduction, 'To Mega Therion' combines choirs with riffs, a deathy voice with clean vocals, connecting Metal with classic in an intensity no collaboration between METALLICA and any orchestra could ever reach!

But also each of the other tracks is a furious ride through the sound-scape of Christofer Johnsson, powerfully staged and brilliantly performed, with an extremity and quality the two following works 'Vovin' and 'Deggial' could not (or would not) show again…

There are not many albums in Metal that truly wrote history, but 'Theli' is one of them, absolutely. This album belongs to each and every Metal-collection!

A'arab Zaraq – Lucid Dreaming is the sixth full-length musical album by Swedish heavy metal band Therion released in the year that the band celebrated their tenth anniversary. The record contains a few unused songs from Theli, a few cover songs the band had made, plus a full soundtrack Christofer Johnsson had made independently for the film called 'The Golden Embrace' (1997).

Tracklist:
1. In Remembrance (6:28)
2. Black Fairy (European Metal Version) (5:56)
3. Fly To The Rainbow (8:15)
4. Children Of The Damned (4:30)
5. Under Jolly Roger (4:36)
6. Symphony Of The Dead (Rerecorded Shortened Instrumental Version) (3:39)
7. Here Comes The Tears (3:21)

Therion Versions:
8. Enter Transcendental Sleep (4:22)
9. The Quiet Desert (3:52)
10. Down The Qliphotic Tunnel (2:53)
11. Up To Netzach / Floating Back (4:08)

Original Soundtrack:
12. The Fall Into Eclipse (3:44)
13. Enter Transcendental Sleep (3:51)
14. The Gates To A'arab Zaraq Are Open (1:25)
15. The Quiet Desert (3:51)
16. Down The Qliphotic Tunnel (2:53)
17. Up To Netzach (2:53)
18. Floating Back (0:49)

This is probably the best album to introduce new listeners to Therion. This is a very well orchestrated and guitar oriented album that dips even towards classical music. The choirs and duos in this album are also very intriguing to hear. This is also the second post pure death metal album showing the shift from former death metal to progressive/gothic metal.

I like this album the most of any Therion I have heard. If you like bands like Nightwish and also Kamelot this is somewhere in between in sounds. I really like the Symphony of the Dead Instrumental and The Quiet Desert are great tracks. I sometimes wish this was a little less symphonic and more metal oriented yet it is a true Masterpiece nonetheless. If This was Stolen I would be happy the person had the taste to find this and be angry I would have to wait to get this shipped but would certainly buy this again. I personally think this is also the best way to listen to Therion for the first time as appose to Deggial which takes a bit of an open mind and a taste for classical music.

A string orchestra glides alongside an electric guitar. A choral vocalist sings over propulsive rock rhythms. Symphonic speed metal comes to life on Vovin. Bandleader Christofer Johnsson has fashioned a powerful classical-metal hybrid that displays how the potent elements of the two divergent genres can be fused. Indeed, the recording is so cohesive and robust that it feels like the strings, choral singers, and band are performing simultaneously. Other surprises include the scarcity of rock vocals throughout and the charming Middle Eastern overtones found on the opening track, 'The Rise of Sodom and Gomorrah.' Purists may find Vovin unacceptable, but that's the price of progress.

Tracklist:
1. The Rise Of Sodom And Gomorrah (6:45)
2. Birth Of Venus Illegitima (5:15)
3. Wine Of Aluqah (5:04)
4. Clavicula Nox (8:50)
5. The Wild Hunt (3:49)
Lead Vocals – Ralf Scheepers
6. Eye Of Shiva (6:19)
7. Black Sun (5:10)

Draconian Trilogy (8:02):
8. The Opening (1:28)
Organ [Hammond] – Lorentz Aspen
9. Morning Star (3:34)
Organ [Hammond] – Lorentz Aspen
10. Black Diamonds (2:58)
Organ [Hammond] – Lorentz Aspen

11. Raven Of Dispersion (5:57)

By many 'Vovin', the follow-up to the mighty 'Theli', is hailed as best THERION-album. For many years now I am an avowed THERION-fan and dare to disagree.

Compared to the all-time-milestone 'Theli' 'Vovin' is a lot calmer, the Metal-share has been heavily reduced, while the classical element has been equally emphasised. Basically you could call 'Vovin' the most 'arty' album of the Swedes around mastermind 'Christofer Johnsson', evil tongues yet also claim the most sedative…

Only the aptly titled 'The Wild Hunt', with former GAMMA RAY and now PRIMAL FEAR Ralf Scheepers on vocals, and parts of 'Wine Of Aluqah' remind of the furiousness of the predecessor, the rest is dominated by quite measured compositions with rather gentle choir- or solo-vocals and invite you to float away. 'Eye Of Shiva' or 'Birth Of Venus Illegitima' are prime examples for this, sometimes I feel reminded of some theatre-play with some electric guitars as fitting musical element, I can vividly imagine people in tuxedo and tie or evening gown listening to the sounds, sitting in their cushioned seats…

The 'Draconian Trilogy' of 'The Opening', 'Morning Star' and 'Black Diamond' then offers us a journey through the calmer side of THERION, covering everything from the dreamy until the intensive passages that you would expect of the Swedes in this department. And the closing 'Raven Of Dispersion' is another highlight full of intensity, especially vocally.

All in all an album that should rather be viewed as a piece of art than a Metal-album, I personally (apart from 'The Wild Hunt') miss the pepper in it, but on the other hand it is a very flowing album, which might have paved some fan's way into the Metal and also some ardent classic-fans might have had to admit that Metal is at least a little more than only noise and thrashing…

Crowning of Atlantis isn't so much a proper album as it is a collection of live tracks, covers, and odds and ends designed to whet fans' appetites for Therion's next full-length. The live material was recorded in 1998 on Therion's European tour with Moonspell, while the covers include Manowar's 'Thor (The Powerhead),' Accept's 'Seawinds,' and Loudness' 'Crazy Nights.' There's nothing revelatory here, but it's a nice package for devoted fans.

Tracklist:
1. The Crowning Of Atlantis 4:58
2. Mark Of Cain 5:01
3. Clavicula Nox (Rerecorded Version) 8:51
4. Crazy Nights 3:42
5. From The Dionysian Days 3:16
6. Thor 4:47
7. Seawinds 4:23
8. To Mega Therion (Live) 6:38
9. The Wings Of The Hydra (Live) 3:21
10. Black Sun (Live) 5:45

So after “Theli,” THERION released some unreleased material on their miscellany album “A’Arab Zaraq: Lucid Dreaming.” It figures that after their next full-length, 1998’s “Vovin,” they’d release another catch-all album. For me, “Crowning Of Atlantis” was a lot of firsts—it was my first THERION album after hearing them on a Nuclear Blast sampler and, through their cover of “Thor (The Powerhead),” my first exposure to a MANOWAR song.

There’s only one original song recorded for this mini-album, the title track. “From The Dionysian Days” and “Mark Of Cain” were both recorded, more or less, for “Vovin,” and the anterior artwork for “Vovin” does in fact list “Mark Of Cain,” since it was cut in the eleventh hour or production. The last three tracks are live from of the band’s 1998 tour. There are also three covers—the aforementioned MANOWAR, “Crazy Nights” by LOUDNESS, and “Seawinds” by ACCEPT. Finally, “Clavicula Nox” is a remix of a song from “Vovin,” the primary difference to being that the genders have been switched in the singers.

Since it’s a THERION album, there are a couple noticeable guest musicians, most notably Ralph Scheepers (PRIMAL FEAR) on “Crazy Nights” and “Thor (The Powerhead)”, Sarah Jezebel Deva (ANGTORIA, ex-CRADLE OF FILTH), and Martina Astner Hornbacher (ALAS, ex-DREAMS OF SANITY, ex-KOROVA), the latter two on “Seawinds.” All three contributed to “Vovin.”

But how’s the music? It’s all uniformly good, as befitting post-“Lepaca Kliffoth” THERION. “Mark Of Cain” and “Crowning Of Atlantis” are both faster and with less orchestration than most tracks on “Vovin,” though the operatic singers are retained, with some really nice guitar work that reminds me of what LACRIMOSA was doing at the same time. “From The Dionysian Days” is primarily piano based and a bit slower.

If you’re a fan of any THERION releases (unless it’s exclusively the first two), picking up “Crowning Of Atlantis” is a no-brainer. The music is of uniform quality and definitely in line with 'Vovin' and 'Deggial.'

By the time Deggial was released, Christofer Johnsson's Therion had already secured themselves a place in metal history. Johnsson's unique melding of classical and metal styles helped the band rise above the typical doom metal bands. While this approach had been a staple of Yngwie Malmsteen for years, Therion's approach is more organic, symphonic, and theatrical. Here the band refines their approach with improved compositions, the addition of woodwinds, and enhanced production. Johnsson's curious decision to rely on '80s metal-style guitar in the vein of Iron Maiden takes some of the music's impact away; it would have been better served with a heavier, darker sound. Still, there are some amazing moments here, in particular 'Via Nocturna' and the excellent cover of Carl Orff's 'O Fortuna.' While not the best offering in their catalog, Deggial is a great starting point for the uninitiated, and of course, essential for the seasoned fan.

Ninth album from Swedish death metal band led by Christofer Johnsson. Following the paths of both 'Vovin' & 'The Crowning Of Atlantis', 'Deggial' has an even stronger orchestra section, tightly woven metal intricacies, haunting chants & beautifully executed songs.

Tracklist:
1. Seven Secrets Of The Sphinx (3:36)
2. Eternal Return (7:10)
3. Enter Vril-Ya (6:38)
4. Ship Of Luna (6:29)
5. The Invincible (5:09)
6. Deggial (5:03)
7. Emerald Crown (5:30)
8. The Flight Of The Lord Of Flies (1:22)
9. Flesh Of The Gods (4:06)
Lead Vocals – Hansi Kürsch
10. Via Nocturna (Part 1 And 2) (9:33)
11. O Fortuna (3:22)
Acoustic Guitar – Waldemar Sorychta

Next THERION-album, next strange title. 'Deggial' is the title of the follow-up to 'Vovin' and marks a step into a more guitary direction, contrary to the mostly surprisingly calm predecessor the band around Christofer Johnsson presented itself a bit heavier, but no less artistic and demanding.

Opener 'Seven Secrets Of The Sphinx' starts out quite measured, but the guitars are farther to the foreground again, which in connection with the classical instruments and the strong choir-vocals comes over very good, while the guitar of 'Eternal Return' reminds me a lot of none other than IRON MAIDEN, the melody-line, the sound, really British, even though the rest again is very calm and noble.

'Enter Vril-Ya' convinces by its simple, but very effective guitar, which introduces one of the highlights of this album, with great choir-arrangements, well implemented classical elements and that guitar, which also fits in very well. After that it gets very classical, with 'Ship Of Luna', as the title implies only sparsely instrumented and also 'Deggial' starts out very calm until suddenly the guitar jumps at the listener and the whole song turns into a much faster and heavier direction, which fits the song very well!

Well, and 'Flesh Of The Gods' sounds almost traditional, with BLIND GUARDIAN's Hansi Kürsch on vocals, not as wild as 'The Wild Hunt' of 'Vovin'; but still it is most Metal on 'Deggial', in combination with the choirs veeeery good (live even better, because another tad more crunchy)!

The looong 'Via Nocturna' with its two parts covers the whole spectrum, beginning with calm, very classical passages to very well integrated guitars and very variedly arranged choirs, it offers everything that THERION stand for. And for the end they have yet another highlight, a cover-version. But not a normal one, no, no, 'O Fortuna' by Carl Orff, part of his cult-cycle 'Carmina Burana', with everything, guitars and choirs, yet not just played, but really interpreted, equalling the class of the original!

All in all not as artistic as 'Vovin' anymore, but with more guitars. Oh, and you will have to listen to 'Deggial' for a few times until the arrangements truly unfold and you will be able to befriend the album. But once you have succeeded in this, you get, just like before, a highly interesting album of a highly interesting band…

Secret of the Runes is a concept album whose concept is centuries old. Norse mythology is said to have nine different worlds or planes, and each world gets a track devoted to it. With the lyrics that are sung in several different languages, it's hard to keep up unless you're a UN translator in your spare time. However, the operatic overtures transcend verbal communication, as every song swells and recedes with majestic aplomb, taking the listener on a ride that sounds more like a very loud opera instead of anything with a metallic base. Christofer Johnsson's gothic flair for the dramatic has never been more pronounced than on this, the band's tenth album, and the life he breathes into underground metal will make up for the breath it takes away from its listeners. Metallica's forays with a symphonic orchestra sound like being stuck between two radio stations compared to the seamless integration of metallic trappings and Wagnerian soundscapes. Therion continues to be one of the most painstakingly original acts, and even those who think the band strays too far from their roots with each subsequent album have to marvel at the musicianship and imagination Therion displays on Secret of the Runes.

Tracklist:
1. Ginnungagap (6:09
2. Midgård (5:03
3. Asgård (4:07
4. Jotunheim (3:43
5. Schwarzalbenheim (5:17
Translated By [Lyrics To German] – Christian Rätsch
6. Ljusalfheim (3:54)
Voice [Whispering Voice] – Thomas Karlsson
7. Muspelheim (2:14)
8. Nifelheim (4:35)
9. Vanaheim (4:03)
10. Helheim (3:18)
11. Secret Of The Runes (5:30)

Bonus Tracks - on Digipak only:
12. Crying Days (4:31)
Mixed By [Remix] – Mikko Karmila Written By – R. Schenker / K. Meine
13. Summernight City (4:54)
Mixed By [Remix] – Mikko Karmila Written-By – B. Andresson / B. Ulvaeus*

After the two previous albums 'Vovin' and 'Deggial' had featured some reduced heaviness in the guitar-department, the band around mastermind Christofer Johnsson now is fishing in some heavier waters again, not reaching the intensity and furiousness of 'Theli', but I don't think that they even want to reach that one. Instead they have concentrated on making the arrangement even rounder and more to the point than ever.

And they truly have succeeded in this endeavour, because THERION never have sounded this compact and round than on 'Secrets Of The Runes'. Connected by a concept about the Nordic trilogy the songs form a variable journey through just this, in different languages, Swedish, English, German…

There is hardly any solo-singing, but the majority of the songs lives off the choirs, where especially the male choirs create a so very dense and intense atmosphere that you can hardly elude. For some this, along with the classical elements, might be a little kitsch, but if you advance openly, then you will realise which brilliant arrangements Master Johnsson once more has created.

If you just listen to the opener 'Ginnungagap', 'Midgård' or the German-lyric 'Schwarzalbenheim', then you quickly realise the compository class of THERION. Heavy guitars meet a whole armada of classical instruments, above which multi-voiced choirs duel and walk hand in hand with a dreamlike ease over the path that the music has formed.

Oh, yes, the two bonus-tracks… 'Crying Days' by the SCORPIONS and 'Summernight City' by ABBA are offered to us, two cover-versions in the THERION-style, which always is something very appealing. The SCORPIONS-one is not bad, but nothing really exciting, while the ABBA-version is very good, you'd never think it is ABBA, if you didn't know…

And you also get something more, something that you only very rarely get these days: absolute originality, because I know of no other band that sounds like THERION! Even though they have not reached 'Theli' (I doubt that they ever will again), so 'Secret Of The Runes' undoubtedly is an album that every open-minded Metalian should at least have heard!

Live in Midgard is a two-CD set that generously documents Therion's 2001 tours of South America and Europe (and features performances from both small and large halls). The Swedish quartet is augmented on-stage by a six-piece choir and what sounds like a real string section (but is not credited as such in the liner notes). Therion's orchestral metal suites sometimes sound like the offspring of, say, Morbid Angel and the Trans-Siberian Orchestra – and the results are occasionally incongruous and somewhat jarring – but the band's marriage of symphonic music and heavy metal is a happy one for the most part. It doesn't hurt that the execution is pretty much spot-on throughout.

Tracklist:
1-1. Ginnungagap (6:38)
1-2. Invocation Of Naamah (5:23)
1-3. Birth Of Venus Illegitima (5:19)
1-4. Enter Vril-Ya (7:01)
1-5. Riders Of Theli (3:12)
1-6. Symphony Of The Dead (3:45)
1-7. A Black Rose (2:22)
1-8. The Return (2:40)
1-9. Baal Reginon (2:20)
1-10. Flesh Of The Gods (4:19)
1-11. Seawinds (5:02)
1-12. Schwarzalbenheim (3:40)
1-13. In The Desert Of Set (5:40)

2-1. The Wings Of The Hydra (3:25)
2-2. Asgård (4:12)
2-3. The Secret Of The Runes (4:23)
2-4. The Rise Of Sodom And Gomorrah (5:54)
2-5. Summernight City (5:10)
2-6. Beauty In Black (3:42)
2-7. Seven Secrets Of The Sphinx (3:39)
2-8. The Wine Of Aluqah (4:54)
2-9. The Raven Of Dispersion (6:25)
2-10. To Mega Therion (8:30)
2-11. Cults Of The Shadow (6:38)

I've been really enjoying getting into Therion in the last 6 months, initially with the fantastic Vovin CD. The combination of heavy guitar and metal, orchestral strings and choral vocals gives a lot of power but also many different textures and sounds to the music, which I love. I really didn't think it would be possible to pull this off very well with a live recording, but I think Therion has done it. I'm still working through some of the CDs that the material here draws from so I can't compare all of the studio versions to the live versions, but the live performances translate the vocals very well. The material from Vovin sounds quite good, and there are several other songs which have become favorites now.

Lemuria is the eleventh full-length musical album by symphonic metal band Therion. The album title refers to the name of a hypothetical 'Lost Land' called Lemuria.

Tracklist:
1. Typhon (4:37)
2. Uthark Runa (4:42)
3. Three Ships Of Berik Part 1: Calling To The Arms And Fighting The Battle (3:20)
4. Three Ships Of Berik Part 2: Victory! (0:44)
5. Lemuria (4:15)
6. Quetzalcoatl (3:47)
7. The Dreams Of Swedenborg (4:58)
8. An Arrow From The Sun (5:55)
9. Abraxas (5:22)
10. Feuer Overtüre / Prometheus Entfesselt (4:39)

Probably the most 'power metal' album Therion has produced, this fusion of heavy metal songwriting and styles ranging from punk through speed and death metal exemplifies what defines that niche genre. Like a fusion of Overkill and late Iron Maiden ('Seventh Son of a Seventh Son'), it is highly operatic and dramatic like a high school production of Hamlet, but the essential musicality of Therion has been rescued from its true nadir, the execrable 'Lepaca Kliffoth,' which attempted to fuse the simplicity of underground styles with heavy metal riffs and ended up boring most of us silly. Really, it's unwise to even consider listening to this album unless you like power metal enough to have a cheese tolerance worthy of a French chef. It's bombastic and ludicrous like a soundtrack to a Roger Waters production of 'The Three Musketeers,' but inside of this comedy, there's some vital heavy metal best expressed through the expert and evocative lead guitar.

Unlike many metal bands, Therion seem to have made a systematic study of all past successes in glam, stadium, NWOB and Tolkien-inspired heavy metal; what you get as a result is simple, folk-rock adaptations of classic heavy metal riffs, and later Bathory- or Celtic Frost-style integration of choirs and keyboards, giving this music the quality of a visual production. Like distant ancestors DBC and Powermad, Therion integrate death metal precision strumming into heavy metal in a form that produces fluid cadence in which the changing of notes defines an offbeat rhythm that drives the song. Of note is the cover medley 'Feuer Overture/Promotheus Encore,' which despite simplifying its source material preserves its beauty. While this is clearly an upgrade for heavy metal and an extension of its attention span, it is a step back from the riffcraft and involved song structures of Norwegian black metal from the early 1990s; perhaps in the future these two can be fused without losing the compositional integrity of the black metal, or the appreciable beauty and easy-listening aspects of this CD. What makes this band intriguing is its fusion of ancient knowledges, from Phoenician to Norse to Indian to Nietzschean, in an attempt to discover a greater meaning in life than our functional, utilitarian jobs'n'shopping survival. Every generation must have its introductions to the halls of ancient learning, and as Iron Maiden must have been to the 1980s, Therion is to the now.

'Sirius B' opens up in fine style with the catchy, crunchy 'Blood Of Kingu', which is a more traditional metal tune than Therion have penned in a long time. Yes, you have the big choruses and the epic songwriting, but the main part of the song is carried by solid riffs and powerful, power-metal style vocals by some guy who sounds familiar, but I can't place where from. If it were not for the more orchestral parts toward the end, this would just be a very good power metal song. 'Son Of The Sun' doesn't lose any momentum either, with a great main riff and excellent soprano vocals. Overall this is a very consistent album – there are some tracks towards the end that blend together a bit, but actually the quality level stays very high throughout. As on 'Lemuria' there is a bit less focus on orchestral stuff and bit more on the guitars, so this is a more metal album than I was expecting, which I can only see as a good thing, as Therion are one of the few more experimental bands who have not forgotten about staying metal.

Tracklist:
1. The Blood Of Kingu (5:45)
2. Son Of The Sun (5:36)
3. The Khlysti Evangelist (5:39)
4. Dark Venus Persephone (4:02)
5. Kali Yuga Part 1 (3:28)
6. Kali Yuga Part 2 (5:48)
7. The Wondrous World Of Punt (7:19)
8. Melek Taus (5:32)
9. Call Of Dagon (4:14)
10. Sirius B (3:44)
11. The Voyage Of Gurdjieff (The Fourth Way) (5:57)

“Sirius B”, while still experimental, heavy and aggressive comes off as a typical/familiar THERION album, but you still get more Epic Metal value than laid back orchestration. “Blood Of Kingu” rivals the traditional riffs of old and with real Metal vocals on top of everything I started thinking of PRIMAL FEAR.

Did RHAPSODY write a song for the band? On “Voyage Of Gurdjieff (The Fourth Way)” the band embarks on a six minute bombastic Hollywood Metal ride; picture “The Wild Hunt” (from “Vovin”) with bigger choirs and ten blocks of Power Metal speed paces, definitely their fastest and most ambitious song in recent years.

The choirs work like a charm and are executed brilliantly as is the playing of the Prague Philharmonic Orchestra; nothing new there I guess, everything is just bigger. New experiments show their faces in songs like “The Khlysti Evangelist”, the two-part epic “Kali Yuga” and the instrumental title cut, which also works out good for the band and the album’s diversity.

This extensive collection of material from Swedish heavy metal band Therion includes full-length from Mexico City…

Tracklist:
1-1. Intro (0:28)
1-2. Blood Of Kingu (5:27)
1-3. Uthark Runa (5:33)
1-4. Seven Secrets Of The Sphinx (3:45)
1-5. Asgård (4:33)
1-6. Son Of The Sun (5:44)
1-7. Invocation Of Naamah (5:38)
1-8. Typhon (4:38)
1-9. Draconian Trilogy (6:44)
1-10. Flesh Of The Gods (4:11)
1-11. Schwarzalbenheim (3:33)
1-12. Ginnungagap (5:13)

2-1. In Remembrance (6:34)
2-2. The Wild Hunt (4:02)
2-3. The Invincible (5:23)
2-4. Melez (4:00)
2-5. The Rise Of Sodom And Gomorrah (6:53)
2-6. The Khlysti Evangelist (4:53)
2-7. Siren Of The Woods (9:59)
2-8. Quetzalcoatl (3:39)
2-9. Wine Of Aluqah (4:47)
2-10. Cults Of The Shadow (5:20)
2-11. To Mega Therion (7:10)
2-12. Iron Fist (5:15)

Sweden's Therion have been lauded the world over, just about, for their wildly influential and experimental symphonic heavy metal; it incorporates not only classical ambitions and arrangements, but the integration of European folk and even industrial elementals into their sound. Add to this guitarist, songwriter and conceptualist Christofer Johnsson and (non)performing scholar/lyricist Thomas Karlsson's collective studied knowledge of myths, arcane occult knowledge, and folklore from around the globe (East of the Atlantic anyway) and you have the very beginnings of Therion's reach and command of artful heavy music. Johnsson added an opera singer (and now two) a couple of years back to bring life to his simultaneously pretentious and operatic vision of a quadrology of Nordic myth that began with Secret of the Runes, continued in the simultaneously issued Sirius B and Lemuria, and sees its grand – and oh is it grand – finale in Gothic Kaballah, the most righteous vision of excess heavy metal has ever seen.

Tracklist:
Disc I:
1. Der Mitternachtslöwe (5:38)
2. Gothic Kabbalah (4:33)
3. The Perennial Sophia (4:54)
4. Wisdom And The Cage (5:01)
5. Son Of The Staves Of Time (4:47)
6. Tuna 1613 (4:23)
7. Trul (5:11)
8. Close Up The Streams (3:55)

Disc II:
1. The Wand Of Abaris (5:51)
2. Three Treasures (5:20)
3. Path To Arcady (3:54)
4. TOF - The Trinity (6:18)
5. Chain Of Minerva (5:21)
6. The Falling Stone (4:46)
7. Adulruna Rediviva (13:37)

Musically 'Gothic Kabbalah' is somewhat of a re-invention of the band, as the symphonic element and especially the choirs have been greatly reduced in favour of a more direct and at times also heavier approach to their sound, which might in the beginning present some problems to the followers of the band, but once you accept that Johnsson once more refuses to stand still, but continues to explore different avenues every single time, you will be able to fully submerge into this album.

Embedded into a crystal clear production, where every single instrument and voice has its perfect place (just listen to how thick the bass comes through every song!), Johnsson is presenting us with the probably most direct album since the band's Death Metal beginnings, concentrating on three vocalists (not exclusively, but the majority of the songs is catered to by them): Mats Levén, Snowy Shaw and Karin Fjellander, and especially Levén as lead singer delivers an impressive performance.

Now it will probably take you a little longer to get into the album, as it mostly lacks this immediate catchiness, but rather chooses to reveal its details and appeal only with a little more time and patience, as the songs, although kind of tuned down compared to the pure symphonic grandeur before, are still as layered and intricate as ever. There still are lots of classical instruments, albeit more subtle, the same goes for these oriental melody lines that have threaded through THERION compositions for many years now and just add this subtle touch to the songs.

That the guitars have taken the scepter again is shown right away by 'Mitternacht Löwe', where they take the role that the orchestra had on the prior releases and that there are no choirs, but only solo vocals also adds to the distinctly different atmosphere of the song. The title track is one of the definitive highlights, with its vocal duel, the catchy chorus and the use of some choir passages, brilliant! 'Son Of The Staves Of Time' at times almost reminds me of symphonic Hard Rock/Heavy Metal, with a Levén in top form, while 'Tuna 1613' is not a hymn to the fish, but shows a different side of the band as well. 'Three Treasures' has an almost criminally catchy chorus and 'T.O.F.-The Trinity' sometimes almost steps over into Power Metal (a terrain that is further explored a little later on by 'The Falling Stone'), before 'The Wand Of Abaris' is a lot darker and epic (with the exception of one vocal passages, which is just too high and sappy). And the 14-minute epic 'Adulruna Redivivia' is maybe closest to the previous album due to its increased used of both orchestra and also choir, THERION are no strangers to epics and this one fits right into the historic timeline.

On the other hand there also are a few songs that just will not ignite, 'Close Up The Streams' and 'Chain Of Minerva' to be precise, but despite not fully living up to the standard of the other compositions, they still fit into the overall context and flow of the album.

So be silent, all ye naysayers, THERION have not switched horse, they have not run out of ideas, no, they continue to reinvent themselves and 'Gothic Kabbalah' is a brilliant album, no matter how you look at it. For the next one it would be great, if they could kind of combine this new direction with the sounds of 'Theli' and we'd have an incredible album, but still, give this effort the time it deserves and try not to hold on to the past too much, but listen with open ears and Christofer Johnsson's brilliance will embrace you, too!

Therion brought their enchanting and majestic live show throughout the world with stops in the U.S., many successful European festival gigs, and a full European tour, including this professionally recorded live extravaganza from Warsaw, Poland recorded February 14, 2007.

Tracklist:
1-1. Der Mitternachtslöwe (6:19)
1-2. Schwarzalbenheim (3:56)
1-3. The Blood Of Kingu (5:57)
1-4. The Falling Stone (4:09)
1-5. An Arrow From The Sun (5:47)
1-6. Deggial (5:03)
1-7. Wine Of Aluqah (5:12)
1-8. The Perennial Sophia (4:36)
1-9. The Son Of The Sun (5:43)
1-10. Son Of The Staves Of Time (5:07)
1-11. Birth Of Venus Illegitima (5:17)
1-12. Tuna 1613 (4:18)
1-13. Drum Solo (4:05)
1-14. Muspelheim (2:47)

2-1. Rise Of Sodom And Gomorrah (6:47)
2-2. Ginnungagap (5:49
2-3. Grand Finale (4:17
2-4. Lemuria (4:16)
2-5. The Wand Of Abaris (5:49)
2-6. Nightside Of Eden (7:43)
2-7. To Mega Therion (10:16)
2-8. Thor (The Powerhead) (5:49)

I have seen the band live before, on the “Secret Of The Runes” tour, with six choir singers to the left and right of the drum kit and I must say that this does look quite a bit different, far more dynamic, the fact that we only get four singers, which actually are in the middle of the fray on stage makes a big difference and while some of the operatic opulence might have gotten lost a little, the bigger interaction and the a little heavier reliance on the guitars still works very well for the songs, which show a bigger focus on the last few releases, but still also feature some tracks as far back as the legendary “Theli” album. Mainman Christofer Johnsson was supported by Kristian Niemann on guitars (damn, this guy can play!), Johann Niemann on bass and Petter Karlsson on drums, whereas the vocals were handled by Snowy Shaw, Mats Levén, Lori Lewis and Katarina Lilja.

Recorded on February 14, 2007 in Warsaw, Poland, the guys made the full use of the stage, with a visually very appealing setting, an opulent light show and despite spanning eight releases, the flow of the show is brilliant and there is not a single song that could be singled out as being a weak point throughout the 180 minutes of this show. Now who knows THERION knows that the songs are not exactly and straightforward, but the sheer precision that the band and singers perform the compositions is nothing but astounding (of course the orchestra elements come from the computer, but there is a limit to what you can bring on tour with you). For the uninitiated, THERION play the maybe ultimate mix of Metal and classical music, extremely symphonic, heavy yet orchestral, catchy yet technically high standing, go read the other reviews to get an idea what this band is about!

The sound is clear and powerful, the camerawork is excellent, so I do not see any reason whatsoever not to wholeheartedly recommend this collection to any THERION fan or anyone, who would like to become one. On a related bit of news, right now Christofer Johnsson is the band, as all singers and other musicians have left the band, mostly due to difference of opinions concerning the musical future of the band, well, Johnsson has been at a point such as this one many times before and I am sure that he will be able to gather more high-end talent around himself for the future!

Their appearance at the renowned International Opera Festival in Miskolc, Hungary in 2007 was taped on and off stage to preserve a truly unique classic metal event for the Therion fanbase! This unprecedented full visual and aural experience features one Wagner-heavy set of classical music and another of Therion songs with a symphony backing them. Rounding off The Miskolc Experience is an entertaining documentary which gives insight in the complicated organization and execution of this event from both the crew and musicians. This is the last testimony of the brilliant Johnsson/Leven/Niemann/Niemann/Karlsson line-up, which dissolved in late 2008.

Tracklist:
Part 1 - Classical Adventures:
CD1-1. Clavicula Nox (10:31)
CD1-2. Dvorak: Excerpt From Symphony No. 9 (2:04)
CD1-3. Verdi: Vedi! Le Fosche Notturne Spotigle From Il Trovatore (2:45)
CD1-4. Mozart: 'Dies Irae' From Reqiuem (1:59)
CD1-5. Saint-Saens: Excerpt From Symphony No. 3 (2:14)
CD1-6. Wagner: 'Notung! Notung! Niedliches Schwert!' From The Ring (7:10)
CD1-7. Wagner: Excerpt From The Overture From Rienzi (3:12)
CD1-8. Wagner: Second Part Of 'Der Tag Ist Da' From Rienzzi (7:17)
CD1-9. Wagner: First Part Of 'Herbei! Herbei!' From Rienzi (1:47)
Part 2 - Therion Songs:
CD2-1. Blood Of Kingu (5:53)
CD2-2. Sirius B (3:51)
CD2-3. Lemuria (4:22)
CD2-4. Eternal Return (7:21)
CD2-5. Draconian Trilogy (8:37)
CD2-6. Schwartsalbenheim (5:28)
CD2-7. Via Nocturna (9:43)
CD2-8. The Rise Of Sodom And Gomorrah (6:54)
CD2-9. Grand Finale (4:23)
The Miskolc Experience:
DVD-1. Clavicula Nox
DVD-2. Dvorak: Excerpt From Symphony No. 9
DVD-3. Verdi: Vedi! Le Fosche Notturne Spotigle From Il Trovatore
DVD-4. Mozart: 'Dies Irae' From Reqiuem
DVD-5. Saint-Saens: Excerpt From Symphony No. 3
DVD-6. Wagner: 'Notung! Notung! Niedliches Schwert!' From The Ring
DVD-7. Wagner: Excerpt From The Overture From Rienzi
DVD-8. Wagner: Second Part Of 'Der Tag Ist Da' From Rienzzi
DVD-9. Wagner: First Part Of 'Herbei! Herbei!' From Rienzi
DVD-10. Blood Of Kingu
DVD-11. Sirius B
DVD-12. Lemuria
DVD-13. Eternal Return
DVD-14. Draconian Trilogy
DVD-15. Schwartsalbenheim
DVD-16. Via Nocturna
DVD-17. The Rise Of Sodom And Gomorrah
DVD-18. Grand Finale
Bonus Features:
DVD-19. Documentary (19:35)
DVD-20. Therion Goes Classic – Bucharest (15:29)

The music of Therion always had a proper classical élan. Thus it is obvious that the music of Christofer and co appears to be very suitable for a strictly classical performance. Like we are used with Therion, everything is perfectly filmed - this time with so much serenity that it really moves you - and the sound quality is marvellous as well. The DVD does not only include concert recordings but also a twenty minutes long documentary of the making and a quarter of an hour footage from the classical concert in Bucharest.

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That gig is divided in two parts. The first three quarters of an hour we see compositions from e.g. Mozart, Wagner, Verdi and a few less known classical composers, executed by the orchestra, choir and Therion. I want to warn you that this is pure classical music. This ‘Therion goes classic’ gives me a massive Night of the Proms feel. The raucous side of metal is completely polished and Christofer with bow tie plus musicians in evening dresses look kind of strange. But maybe I still have the old view from my youth that metal is music of those who question the norms of society (a bit rebellious) and classical music is for the formal chic people. Yet I think there might be fans that will have the same feeling when they watch the first part of this DVD. But there is more than an hour different stuff as well, more precisely Therion songs executed with classical orchestra and choir. Due to the nearly sacred atmosphere, it is very impressive. ‘The Miskolc Experience’ is a dream come true for Christofer Johnsson. It is fine that everything was recorded, so that this milestone in Therion history can be watched by the whole world instead of only by those who attended it.

A new Therion album always demands a profound investigation; by ingenious composer Cristofer Johnsson as well as by me, before writing down my impressions. The music of the Swedish symphonic metal band appears to be multilayered and the baroque melodies demand your ultimate concentration. Only then, it seems that they have an ingenious catchiness after a few spins. When more and more parts become familiar, a bond with the new music is about to be created. That’s what happened with ‘Sitra Ahra’ once again!

Tracklist:
1. Introduction/Sitra Ahra (5:24)
2. Kings Of Edom (8:51)
3. Unguentum Sabbati (5:09)
4. Land Of Canaan (10:32)
5. Hellequin (5:18)
6. 2012 (4:16)
7. Cú Chulainn (4:16)
8. Kali Yuga III (3:41)
9. The Shells Are Open (3:44)
10. Din (2:37)
11. Children Of The Stone: After The Inquisition (7:22)

It always made me wonder how Cristofer Johnsson manages to classify his new born compositions in a slightly mathematic order and put them on a shelf for a certain album. With this album we have arrived at the fourth and last album of a quadralogy and most of these songs have been written during the sessions for ‘Sirius B’ and ‘Lemuria’. A direct link is the song ‘Kali Yuga III’. However, do not see these songs as leftovers, these are proper Therion songs that had to mature like vintage wine. The first encounter with ‘Sitra Ahra’ is impressive, that’s what I want to put first.

Many words have been written about the new musicians, helping Cristofer out on this musical adventure. In brief: Thomas Vikström (once known from Candlemass) is recruited as new permanent vocalist and besides a fine rock singer, he appears to be a classical trained tenor. Snowy Shaw has also decided to stay. A new Swedish rhythm section has been invigorated by the Argentinean guitarist Christian Vidal who recorded guitar solos for this album, while Waldemar Sorychta contributed with preproduction and most of the rhythm guitars. On the upcoming tour, he will be the live session bassist. The album is recorded in a new home studio, but it was mixed by Lennart Östlund at the infamous Polar Studios (Led Zeppelin, Abba).

The title track invites us with high-shrieked opera chants and smooth rocking symphonic rock. This album brims with massive choirs: male, female and even a child’s choir in the last track. Most of the songs have a solid guitar base, now and then some melodic solos pop up, but classical music and a kind of progressiveness prevail. That’s what we learn in the nine minutes long ‘Kings Of Edom’ with its gentle acoustic guitar interludes. ‘Unguentum Sabbati’ has an infectious downwards crescendo that reminds me of ‘Echoes’ from Pink Floyd. It is the main melody of this doom-like song. A magnificent highlight is the ten minutes long epic ‘Land Of Canaan’. So much is happening here, words cannot describe this opulence of ideas. What can we think of a sober beginning with percussion and harpsichord, while later on harmonica and flutes are featured and again later an accordion regales those typical Therion sounds. But also vocal-wise, this epos pulls out all the stops: choirs or solo spots; it is a real adventure to listen to.

A cello opens ‘Hellequin’, but an acceleration with pithy choirs leaps more to the eye. Catchy guitar chords feature ‘2012’, in the symphonic part violins appear in the front, but the guitar solo is beautiful too. The choir has a very catchy – and familiar sounding – melody in ‘Cu Chulain’. In ‘The Shells Are Open’, the musical backbone is again very open and accessible, but voluminous choirs add a solemn tinge. The short and fast ‘Din’ has any blackened influences (raucous vocals), even if we hear any high-pitched shrieks à la Halford as well. To occlude we have the calm, contemplative ‘After The Inquisition: Children Of The Stone’ which persists a gentle timbre with flute, acoustic guitars and childlike choirs. It remains rather slow and has a progressive touch. Now and then we hear vintage organ on this record and the spirit of the seventies surely rules, yet in that typical Therion way. The execution of this new bundle of ideas of Cristofer Johnsson is a musical journey that will fascinate many people for hours (the album itself is more than one hour long). Top notch quality!

Of course, it's not a COMPLETE discography, but anyway, all studio albums are here.
Enjoy!