In the beginning … there was Lucifer! And now this fifth full-length outing for the “occult metal” outfit proves to be a thoroughly satisfying, good ol’ heavy rock ’n’ roll album which, at its very best – the outstanding “Slow Dance In A Crypt” – can be downright beautiful and utterly beguiling.
With song-writing nous, all-round playing chops and excellent production, including a superb, crunchy guitar sound, Lucifer V (Nuclear Blast Records)has at its heart the clean, clear, commanding voice of Johanna Platow Andersson.Continue reading →
Symphonic Metal master Christofer Johnsson assembles and commands the latest Therion line-up for Leviathan III (Napalm Records), another epic, bombastic concept album that will have fans of this kind of thing rocking in the aisles, or whatever it is opera fans tend to do in similar circumstances (frocking in the aisles?!).
Non-aficionados will admire the abundant technical excellence but might find themselves worn down by the too sweet, lightweight method and approach, the continuous faux-classical bombardment and the sometimes awkward melding of scatter-gun references and influences (not least in the lyrics).
The strategic mix of the metal and the classic, throughout history, can often be problematic, even jarring. But the long-running Therion, following up directly here on Leviathan I and II (2021 and 2022, respectively), succeed in a more-or-less comfortable marriage of the bright fairytale lights and the darker doom, the beauty and the beast.
Much of the musical glue that holds it all together comes from Johnsson’s keyboards, but it’s the guitars (Christian Vidal) and the main man’s ambition in composition that really shine through.
Vocals range from Viking-style war chants to soaring female operatics (Lori Lewis), with geetar sounds veering from acoustic filigrees (“Ruler Of Tamag”) to electric chugalongs, melodic lead breaks and energetic riff riots (see “An Unsung Lament” and “Ayahuasca”, for example).
There’s also pop among the pomp, singalong and chantalong bits with strong hooks as Swede Johnsson sprinkles in echoes of the spectacularly successful, smooth and satisfying Abba-metal of countrymen Ghost as well as more straight-ahead power metal and melodic prog.
But despite moments of genuine doom and some death growling, Leviathan III can, at times, be too mild and mellow, saccharine and schmaltzy, tunes fit for backing Disney animation rather than proper Wagnerian guts, glory and apocalyptic passion (the images in my head of Elmer Fudd squalling “Kill the wabbit!” in Chuck Jones’ Warner cartoon classic What’s Opera Doc? are surely not what Johnsson had in mind).
The accompanying lyrics are something of a classical, mythological and religious ragbag, referring to generic chaos, the abyss, Babylon, “children of both wrath and all revenge of the deep”, not to mention brother killing brother, Latin warblings, Bacchus, Freja, Thor and Odin, spiritual revelations and a “nightingale in the shadow of your mind”. Profound or what?
The vocals (Thomas Vikström is the lead male singer) that open “Maleficium” recall System Of A Down – echoes of the superior voice of Serj Tankian are cast up several times throughout the album – before mellowing out like most of the rest of the material. “Maleficium”, though, is still one of the album’s signature highlights, along with the aforementioned “Ayahuasca” (the longest track at almost eight minutes).
“What Was Lost Shall Be Lost No More” achieves a certain intensity that several of the other songs lack, while “Duende” opens acoustically and atmospherically, the flamenco-style intro a welcome diversion. Then the operatic, neo-classical assault takes over once again.
Climactic Norse-fest “Twilight Of The Gods” opens with a Tony Iommi-esque droning riff, promising much, but then delivers more of the same formula and a martial, marching beat leads the way to the drum-driven finale (Sami Karppinen on the skins).
Performed live, with full orchestra and choir, Leviathan III might be a different and more impressive beast, but that remains to be seen, and heard.
The old Symphonic Metal lark obviously takes some courage, such are the potential pitfalls, not to mention logistical demands, and Johnsson is to be congratulated again for significantly adding to Therion’s already 35-year legacy. If his reach exceeds his grasp, on this evidence, it’s certainly not for want of trying.
“Niiiiiice”,says Louis Balfour – you know, the jazz critic in The Fast Show comedy sketches. Well, Soen’s Memorial (Silver Lining Music) is niiiiiice – a decidedly serious sandwich full of delights, earworms, and all-around expertise.
Alison Goldfrapp is best known as half of the synth-pop duo Goldfrapp. Following more than twenty years and seven albums alongside Will Gregory as Goldfrapp she is finally releasing a solo record under her own full name. The Love Invention (Skint / BMG Music) was co-written by Goldfrapp in collaboration with production luminaries Richard X (Pet Shop Boys, M.I.A.), James Greenwood (Daniel Avery, Kelly Lee Owens) and Toby Scott (The Gossip, Annie).
Exactly a year on from the release of Memento Mori (Napalm Records), German medieval folk metallers Feuerschwanz return with a collection of previously recorded cover versions. Releasing material lifted from bonus discs might seem a little superfluous to anyone without a tendency towards rampant completism but Todsünden is filled with surprising choices and no lack of creativity.
It is hard to believe that the Swedish supergroup, Soen, has only been making music together for ten years. Their first full-length, Cognitive procured high praise for its progressive proficiency and emotional maturity. They have stood out for their Tool-like compelling intensity and wide range of sentiment. They have remarkably managed to expand on these ripened abilities with each album they release. Now this quintet is getting ready to celebrate their tin anniversary by releasing a concert film of their classic numbers and a cover with live orchestral accompaniment.
Cosmic Ninja has a new EP coming out called Dissident Transmission (Self-Released). Its first track, ‘By Design’ is a wonderful disco-inspired danceable tome. It’s a song ABBA could have done either in the 1970s or now. My favourite lyric is, “…wake up, enough’s enough! kill your masters…” The lyrics of ‘By Design’ and the rest of Dissident Transmission are a strong stand against the corruption of government entities. Dissident Transmission is a wake-up call to those who are angry about how the government is deliberately misleading the citizenry. The lyrics are heavy and in-your-face but the music itself is pop punkish with a new wave feel. Continue reading →
As one cycle ends, another begins. The flamboyant, dancing Cardinal Copia has been anointed Papa Emeritus IV and the plague-ridden doom of the 14th century is gone. Taking place hundreds of years after Prequelle, Tobias Forge and his band of Nameless Ghouls, otherwise known as psychedelic doom rock popsters Ghost, leave the rats behind as latest chapter Impera (Spinefarm/Loma Vista) tells of new empires built from the ashes of the old.
With seventeen years on the clock and five albums already in the bag, Finnish sextet Battle Beast are back once again with another head-shaking, neck-breaking slab of electrifying European power metal. For those already familiar with the band then their sixth full length release, Circus of Doom(Nuclear Blast), will be like slipping into an old pair of comfortable, sparkly metal boots. For everyone else who may be interested, just strap on the nearest air guitar and prepare to grin stupidly for the next forty gloriously cheesy minutes or so.
One of the great success stories of the last ten years or so, the inexorable rise of occult rockers Ghost has been nothing short of astonishing. From their inception in 2006 and the release of full length debut Opus Eponymous (Rise Above Records) four years later, the act from Linköping have gone on to become one of Sweden’s greatest ever exports.
