Eighth solo studio album from Ihsahn, the legend of Norwegian Metal, releases his modern self-titled (Candlelight Records) opus hot on the heels of his 2023 EP – Fascination Street Sessions. As the principal creative force behind Emperor, his iconic status as a Black Metal musician was secured with their impactful nineties debut album In the Nightside Eclipse which released at the height of the genre’s second wave. While the experimental and progressive influence of his solo output has somewhat gone under the radar in comparison to his work with Emperor, those that have followed his releases since The Adversary in 2006, have been treated to an extraordinary body of work. 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.
Honest question: Who started the whole let’s get an orchestra or symphony type shit behind extreme metal? I know Dimmu Borgir has made some serious bank behind it with the fabulous Death Cult Armageddon and Fleshgod Apocalypse has obscured their lack of riffs with said gimmick, but can we let that trend die? I think I’ve had my fill. But what the hell do I know as Necronomicon has an album worth in Unus (Season of Mist) of synths and faux orchestrations designed to elevate death metal from simply crushing to the upper echelons of the avant-garde.Continue reading →
Ghost Cult had the distinct pleasure of chatting with the one and only Mikael Åkerfeldt of Opeth recently. In a wide-ranging chat with our Chief Editor Keefy, Mikael discussed the new album, In Cauda Venenum,due out September 27th via Moderbolaget Records / Nuclear Blast Entertainment. We discussed his creating both English and Swedish language versions of the album, using an orchestra and choir, concept records, progressive rock artists he likes such as Pink Floyd, King Crimson and Peter Gabriel, working at Park Studios, philosophical lyrics, and why he treated this album like it was the final Opeth album. Continue reading →
Funeral Doom Metal has always been a curiosity. To the average music fan, listening to music inspired by the tragedy and sorrow of a funeral isn’t exactly high on their list. However, like everything, it has its place and when it’s done well; it can paint powerful musical imagery which can invoke powerful emotions. With a name like Abyssic, gothic, dark and ancient images come to mind. However, as shown throughout High The Memory (Osmose Productions), darkness and light have their place in the context of such an emotive genre. After all, the spectrum of human emotion is not measured in absolutes.Continue reading →
After several decades it would be completely forgivable for any band to ease their foot on the peddle as it were, but then again Amorphis are no ordinary band. It is well documented how they weathered a substantial transition in style through the 90’s from death metal with the classic Tales From The Thousand Lakes (Relapse) into a much more melodic entity with Elegy (Relapse) two years later.Continue reading →
On a frozen and blustery early November day Evanesence brought their “Synthesis Tour” to Brooklyn’s lovely King’s Theater. The restored vaudeville theater is astoundingly cool. Regal even. The setting was perfect for Evanescence’s tour which featured a different symphony orchestra accompanying the band in every city and played for the official record release of their Synthesis (BMG) album.
Asking Alexandria have been through some dramatic turbulence in the last few years and if music is the best therapy, this experiment is proof that music is the best medicine. Continue reading →
Top hats off to Dimmu Borgir. While it has been five years almost to the day between the recording of the second of these sets (2012’s Wacken performance where they were joined by almost 100 musicians) the release of the Forces Of The Northern Night (Nuclear Blast) double DVD set is a perfect way to close a simply huge cycle celebrating the monumental Abrahadabra album Continue reading →
