THERION

Review originally written for www.therocktologist.com

I'll be terribly honest to you, this is the first Therion studio album I ever listened, I don't feel ashamed because metal-related music is not my specialty, though I believe I should have listened to some older ones before this newest one. I did know Therion, but only for some songs, not for an entire record, so this is my first true experience with the band, and sadly, not that positive. Probably my feelings have to do with my not-so-keen position regarding this genre, but believe me, when I listen to a metal album I always try the best to appreciate it and even enjoy it.

So 'Les Fleurs du Mal' is a 2012 release that features 16 songs in a 55-minute album, so as you guess the tracks are really short (2:30-3 minute average) and that was my problem, I could not fall in love with any single track, I tried and listen to them and I found nothing but repetitiveness and even boredom. I am sorry, because I know the band is big in the genre and I know purists will kill me, but I simply feel this is just an average album that could perfectly disappear and remain unnoticed.

The album begins with an explosive song, since the first seconds we can listen to a fast and powerful sound, featuring female-opera vocals and dark textures. 'Une Fleur dans le Coeur' is the second song, here the atmosphere changes with a softer tune at least for the first minute, later it becomes a bit darker and in the final minute more emotional. There are some songs like 'Polichinelle' that sounds even funny, I don't know, ridiculous to me, it sounds like Saint-Seiya soundtrack or something like that.

Some of the things I like is the use of instruments that produce a neo-classical sound, sometimes well fulfilled with some gothic schemes, an example of this is 'Soer Ang'lique'. In fact, I can say the band is really talented and colorful, I like how they use reminiscences of ancient times, elements that transport us to old eras, however, it is the music that in moments fails to create the desired enthusiasm on me.

This time I did not want to review song by song, it would be so tired (and tiring for the reader) so I let you my overall feelings in the above paragraphs. Sorry Therion fans, just not my cup of tea. Final grade 4 stars. However'

Enjoy it!

Therion have always been a little bit different from regular Metal bands but when I heard that they would release their new record on their own and without the support of the visionary German Nuclear Blast label, I was quite surprised. When I later heard that the new release would feature fifteen or sixteen cover version of the French chanson genre of the sixties and seventies, I first thought that this was a joke but it ultimately turned out to be true. The Swedish band plays sixteen classics that are mostly inspired by the famous French lyricist Charles Baudelaire and especially his most famous publication that was 'The Flowers Of Evil' which happens to be the title of this record.

Let's get a couple of things straight before I lose myself in the description of the tracks. This record includes almost only short tracks with a running time around three minutes. The lyrics are entirely performed in French. The female vocals on this release are much more dominant than the masculine ones. The new songs have mostly nothing to do with the atmospheric metal anthems or the classic epics of the band's past. This record is something completely new. Twenty-five years after the band made its first steps as a death and doom metal band, they focus on an aspect that we didn't even expect to exist: fun. You can hear that Therion are indeed having loads of fun on this release that sounds more diversified, entertaining and lighter than any other album by this band. The Swedish don't care about fan expectations, critics or financial issues and simply do what they want to do and they do well.

Some of the tracks on here are in fact close to the originals and have a charming old school Chanson flair. A good example could be the very light 'Wahala Manitou' by L'onie Lousseau or the catchy romantic ballad 'Une fleur dans le coeur' by Victoire Scott.

On the other side, there are also a couple of more emotional and introspective songs on this record. There aren't many of them though and that's what makes them even more intense and outstanding. The best example is the sad 'J'ai le mal de toi' by Colette Dereal that combines emotional female and male vocals and makes me think of a more rhythm orientated version of a Ginette Reno song. This sounds strange but it works very well. One of three promotional video clips was done for this song that is dedicated to the French singer and actress Betty Mars who committed suicide by jumping out of her apartment in the modern La D'fense suburb of Paris in the late eighties. This new interpretation of the lyrics and the intense video make this song very touching. Musically, it's maybe the best song on the entire record for me. Other longing songs on this record include the melancholic but romantic 'Mon ami, mon amour' by Marie Lafor't. There are also some darker and mystic tracks on the release such as the perfectly entitled 'Lilith' by L'onie Lousseau that could please to older Therion fans.

There are also a couple of truly experimental pieces on this record. One must of course cite the new interpretation of Serge Gainsbourg's 'Initials BB' that includes narrative and poetic passages and needs a few spins to grow even though it's one of the most intriguing songs on the entire record. The initial track is in fact dedicated to the legendary actress and singer Brigitte Bardot. It wouldn't be too exaggerated to call Therion's band leader Christofer Johnsson a soul mate of the eccentric French artist he's covering here.

As I said, there are also a lot of energizing fun songs with a certain rock 'n roll attitude on this release. 'Je n'ai besoin que de tendresse' by Claire Nixon is an up-tempo track stylistically situated somewhere between the European power metal and the glam rock genre. The song feels like a mixture of a Slade party track of the late seventies, a Glam Metal anthem by W.A.S.P. from the mid-eighties and a funny Power Metal track by Helloween from the late eighties. A second video clip was done for this song. It shows Therion playing the track in front of a chaotic crowd that is getting drunk, fighting each other and having sex in the weirdest ways. This is definitely an image one has never seen before coming from this band and that unexpected aspect makes it so exciting.

There are only a couple of tracks that are comparable to the earlier works of Therion. A good example would be the opener and as reprise also the album closer 'Poup'e de cire, poup'e de son' by France Gall. In the new version, technically perfect and slightly hysterical female vocals meet a few Symphonic Metal elements and truly heavy guitar riffs. A third and last video clip was done for this song. Even though this track is maybe one of the few directly accessible songs for the regular fans, the video funnily depicts the opposite. One can see Therion performing in a cheap bar once again where the crowd simply ignores the band or starts to disturb and hate the performance. Scenes of drunk and puking women, brutally fighting men and people having sex on the toilet are also shown.

Therion definitely risk a lot with this new release. No matter what one might think about it, the concept is quite courageous, entertaining and unique. I would have never expected this band to create this kind of fun ride of an album. It doesn't sound that much like a Therion release but I happen to truly adore this addicting record. Any open-minded music maniac should try this release out and might maybe call this her or his bible of the year 2012. Any Therion fan should though stop and try this record out warily instead of purchasing it blindly and getting disappointed. This release is not for everyone but those who accept it will probably love it quite a lot just as I already happen to do.

Originally published on the Metal Archives on October 10th of the year 2012.

'Les Fleurs Du Mal' - Therion (7/10)

There aren't too many bands out there that can say they have been around for a decade, let alone a quarter of a century. For those few that manage to hit the twenty five year mark, some sort of celebration is usually in order. Some might go on a world tour and appeal to their aging fanbase, while others may record an album or release a collection of shelved demo tracks for the diehard followers to eat up. Of course, Therion have never been known to follow in the footsteps of others. Although the operatic symphonic metal style is all-too common in current metal culture, Therion carved out their own niche, unshackling from their death metal roots and taking a more sophisticated and experimental approach to the symphonic style. With that in mind, it's no surprise that Therion didn't decide to celebrate things the regular way; instead, they went ahead and did an album of 1960's French pop song covers. It's sure to be a head scratcher at first, and while not every fan will get it, Therion's attention to finesse and detail makes this far more than the average covers album.

The beauty of "Les Fleurs Du Mal" lies in Therion's inate ability to take the core material and work it into their own style. By this point in their career, the band has a firm and matured grip on their sound, and a strong idea of where they want to go with it. The operatic soprano, symphonic arrangements and virtuosic neoclassical guitar work is all nothing new to Therion. The fact that Therion are able to so successfully translate these tunes to their own sound is impressive in its own right. Although most of the original songs already enjoyed the backing of a 'big band' style orchestra, many of them essentially remained pop songs, or love ballads. Especially with the peppier selections, the originals have the same head- nodding quality as alot of the Beatles' earliest stuff, with the major distinguishing factor being the female French-language vocals. When you prop the original and Therion's reimagining in comparison, it's effortless to see that they're the same song. Therion puts their own signature on the cover without losing the essence of the original. Instrumental motifs and vocal melodies are retained, transformed by the symphonic metal medium. Even on the originally orchestral-led songs (such as France Gall's "Poupée de cire, poupée de son"), Therion's symphonic element is amped up in complexity. Unless you have the prior knowledge that Therion are paying contribute to France's contemporary equivalent to the Flower Power movement, you may be more easily convinced that these are Therion originals, or at least renditions of classical operatic repertoire.

Although it's about as strange a match-up as I can imagine, Therion have managed to make this experiment work. Although this is a relatively straightforward covers album, Therion have given these tunes the same tender care and consideration they would give their own music. The songs are chosen well, and the rich phonetics of the French language translate well into Therion's music. The appropriately soaring operatic melodies of "Soer Angélique" and film-score quality of "Initials BB" were two of the most memorable moments on the album. The only song here that doesn't seem to fit is their rendition of "Je n'ai besoin que de tendresse", a Claire Dixon track that could have had the staying power of the rest of the album, were it not for the ridiculously over-the-top power metal cheese direction they chose to take it in. The musicianship and production are both excellent, although anyone who has laid ears on Therion's music before shouldn't find that surprising. In particular, operatic soprano Lori Lewis' vocals sound as bright and stellar as anything of the sort you will hear in metal. A covers album this may be, but Therion have given it their greatest effort, and it really shows.

Alot of disappointed fans have gone as far as to say "Les Fleurs Du Mal" is the band's biggest misstep, and a major letdown in the scope of an otherwise illustrious career. I would hope it was a granted that Therion wasn't trying to make a revolutionary masterpiece here. Instead, here is one of the most innovative symphonic metal bands taking a step back from the composition duties in order to stretch their arms and have a bit of fun while they're at it. It's futile to compare this to Therion's real albums. Although an album of new Therion originals may have been preferable, this is a really great way for the band to commemorate the twenty five year milestone. Maybe they'll do some symphonic metal covers for Tibetan throat singing or gamelan music for their fiftieth anniversary? I hope so!

An art project by Therion this album consists entirely of old french folksy symphonic cover songs from the 1950s and 1960s. The album is most similar to the previous "Sitra Ahra" release and has the same line up as Sitra Ahra. In some ways it is better that Sitra Ahra, but unlike Sitra Ahra there isn't any metal in this album (not that there was much in SA but at least we come some heavy moments).

You have to get this album because of its originality. Nobody else has done an album like this. It is like a modern version of old style music that isn't made anymore.

The production is perfect. The performance of the band and singers is top notch. None of the songs suck, although some of them can get boring at times and almost put a rocker to sleep. A few songs stand out as being "hits" and are superb to anyone's ears. Some of them sound familiar as we've probably heard these melodies before (they are cover songs after all).

The songs all fit together. This is not a random assortment of songs like lemuria/sirius b or Gothic Kabbalah. There are no annoying 80s metal screams ruining the flow of an operatic song. It may take a few spins to realize it, but the instrumentals are complex and extremely well done. But you don't really notice the instruments. The guitars and drum beats are mostly in the background backing up the vocals. This whole album focuses on vocals and melodies.

I have to hold back five stars because the album is a little bit boring from a metal heads prospective. There are no noteable guitar solos or heavy moments. It is jazzed up. The songs do rock more than the original versions, but this album cannot be considered metal by any stretch of the imagination. It may have a little metal influence here and there from the "therionization" of the songs, but no the songs are not metal songs. What this is, is actually another rock opera masterpiece by Therion. Much like Secret of the Runes before it, this will bore the h*ll out of metal fans, while delightfully pleasing fans of opera or fans of old time music.

"Sitra Ahra" is the 13th full-length studio album by Swedish symphonic metal act Therion. The album was released in September 2010 by Nuclear Blast Records.

The music on the album is vocal dominated symphonic metal. The backbone of the music is mid- to slow paced heavy metal but it´s the operatic and semi-operatic female and male vocals that completely dominate the music. The songs are epic and almost cinematic at times. Sometimes I´m reminded of a grand musical ( broadway) production. The images are the only thing missing. I´m well entertained throughout the playing time of the album as I´m treated to well thought out compositions, excellent musicianship and a professional production. As far as the "metal" part of the album goes, I miss a bit of bite and recognisable riffs, but the intriguing melody lines and vocal performances make up for some of that.

I haven´t listened to much Therion since "Theli (1996)", but I understand they´ve played this style of vocal dominated symphonic metal pretty much since then. With that in mind I can´t put "Sitra Ahra" into a context discography wise, but viewed upon on its own merits this is a really good album to my ears. A 3.5 star rating is fully deserved.

Back to doing what he does best

For me, Therion's 2007 album "Gothic Kabbalah" saw Christofer Johnsson throwing the baby out with the bathwater by ditching the orchestra and everything which distinguished Therion from their peers. What was left was little more than just another Gothic metal album.

When it was announced in late 2009 that the next album would see those essential parts of the band's make up returning, the omens were good for a return to form. Released in late 2010, "Sitra Ahra" may not live up to those expectations in full, but it is certainly a major step back in the right direction. Following the release of "Gothic Kabbalah", the line up supporting Johnsson disbanded and a new group of musicians was brought in to support him. Perhaps most significant among these is vocalist Thomas Vikström (the son of a noted Swedish opera singer), the first time the band have had an official lead vocalist other than Johnsson himself (and even he has "retired" from singing).

The opening "Introduction: Sitra Ahra" is certainly full of promise. Operatic female vocals, trained male voices, massed choirs and a heavy guitar riff all blend seamlessly to offer a wonderfully reassuring burst of classic Therion. Thomas Vikström's fine voice is apparent throughout the album, his duet with Linnea Vikström (presumably a relation!) being an early highlight. The track also boasts a fine chorale and some tasteful lead guitar. The arrangement on this 9 minute track is one of the most progressive ever attempted by Johnsson, and one of the most successful. "Unguentum Sabbati" is the third part of the opening quartet which for me form the best part of the album. The track includes brief references to "Phantom of the opera", and harder vocals than have been the case up to now.

The final part of that quartet is the longest track on the album, "Land Of Canaan" running to some 10½ minutes. Once again, the piece features a complex arrangement, but this time there is much more in the way of purely instrumental passages than usual. When the vocals do come in, they have something of a seafaring/Romany atmosphere (for want of a better description).

For no apparent reason, things take a bit of a dip thereafter, the tracks becoming a lot shorter while also generally resorting to a much less sophisticated style. The operatics, chorales, etc., still drift in and out, but they seem less at ease with the rock/metal foundations on which they are laid. "2012" bucks the trend to some extent, "Kashmir" like sounds blending well with chorale vocals and some fine lead guitar. "Cu Chulain" contains the almost obligatory growling, but it is cocooned well in the overall mix.

The closing "After The Inquisition: Children Of The Stone" is rather different, mainly because it features a lighter melody and a children's choir. It may sound concerning, and I suspect many will find it not to their taste, but for me the track works well, offering a new dimension for the band while remaining within their natural boundaries. The ending is rather stage show like!

In all, a vastly superior album from Therion to their (or his) last. While not up to the standard of the classic Therion albums, those who enjoy this unique musical style will find much here to appreciate.

To Mega Therion

I picked this one up at my local record store for $0.99 because I thought I recognized the name of the band. And, for $0.99 how could I go wrong? At first I was a little disappointed wit hit because I wasn't big into symphonic metal. But after a few listens I grew to enjoy the album very much.

One of the best parts of this album are the vocalists. I like how Therion included the choirs since it adds a real nice tough to the tracks. The harmonies that the choirs offer are really cool, too. I prefer the choirs, actually, more than the voice of the main vocalist, Christofer Johnsson. Especially on the track "To Mega Therion" where Christofer Johnsson just fells like he's straining to get the vocals out of his throat. But, on the other hand, the choirs always seem to fir in well with the band. Christofer Johnsson's style also reminds me a little of modern Mastodon's. Another thing that I didn't know about when I bought this album was that Dan Swanö was featured on "Cults of the Shadow" and "Nightside of Eden". Liking Swanö as much as I do, those two songs mad me enjoy this album even more.

"Cults of the Shadow" might just be my favorite song on the album. It starts off with a cool bas and keyboard rhythm which carries over into the wicked vocals of Dan Swanö. Throughout the track the guitars and drums are very solid. Near the end of the song, The North German Radio Choir takes up the same bass and keyboard riff that started the song, except they sing it, not play it.

Overall this is a very solid album by Therion. The instrumental sections are great, along with great guest vocalists; Dan Swanö, The North German Radio Choir, and The Siren. The only thing I can find wrong with this album is that the guest singers are better than those that the band has to offer. One other thing is that most of the songs sound similar. This may be because the choirs all sound the same, but nonetheless this is an album well worth picking up. Therion gets 3.5 stars for one of their first symphonic prog metal albums.

I really like this album. After the brilliant "Lemuria/Sirius B" double album and the still solid "Gothic Kabbalah" which had its lengths and strengths, the band is now back and presents their best album since the innovating "Theli".

But attention, dear metal heads: While "Theli" was an album build on 75% on heavy and death metal and 25% symphonic and classic music, it is now the opposite on "Sitra Ahra". The "Miskolc Experience" and the line-up changes seem to have influenced the band to go even further in their connection of metal and classic. I was already afraid that the line-up changes may destroy the uniqueness of the band and make it go in another direction, but I am very happy to see that those line-up changes have been a fresh rebirth for the band and that Therion continues its journey towards the perfect symbiosis of metal dynamic and power and classical and symphonic intellectual elegance. When you listen to the album, you feel that this band exactly knows what they are doing and where they want to go. And that's why this album isn't a copy of the previous works as "Gothic Kabbalah" already began to repeat the style of "Lemuria/Sirius B", but a really fresh new beginning for the innovating and creative Swedish band.

Only the still brilliant opener "Sitra Ahra" which connects metal and classic equally and the darker, heavier short old school song "Din" remind a lot of the old style of the band.

Medieval, choral-influenced traditional songs as the harmonic "Hellequin", the Celtic and very powerful and happy "Cu Chulainn" or the on Arabian and Persian folklore based epic monster piece "Land Of Canaan" - to just mention two definite 5 out of 5 songs - represent what Therion is today: an open-minded, cultural, historical classic band who plays well developed symphonic mini-operas with some minor metal influences.

The album makes its listener voyage and discover ancient cultures and their folklore and he or she becomes the stunning tourist who admires the amazing sightseeing tour. And after the tour, you have gotten so many interesting insights that you automatically want to voyage again and again and watch the photos of what you have seen over and over again. Once you have listened to the first four songs, you are not able to not finish this album, you get sucked into a maelstrom of exotic impressions, hypnotic melodies and the music creates a lot of images in your head. Therion makes you dream and even if the songs are very complex and elaborated, they have are so light and soft that you don't need more than one try to adore this album, to get into its atmosphere. The album is diversified and progressive without being complex, complicated or mixed-up. It is easy to listen too, but you still discover more and more elements after each hour of pleasure and the album grows more and more on you. Even the "weaker" songs on the album like " Unguentum Sabbati" which has the lack of the famous certain something or "2012" which begins brilliantly but never comes to the punching highlight after its brilliant introduction, fit perfectly with the rest of the album.

This harmonic album is surely nothing for the average metal fan, but Therion has never been a band for that kind of metal head. This album is for the more intellectual people who are not afraid of discovering classical opera and symphony elements, strange languages and exotic cultures and who really take their time to listen to an album as a whole work in peace and harmony. You must listen to it while you are lying on your bed, dreaming, discovering, taking your time, it is surely no music to listen to on your mp3-player on your way to the job in the morning. It is just like an opera: The music creates something visual and wants to tell a story and this album is more than just music, it is a concept, it is a compilation of images and words in perfect harmony, it is a voyage into the past: It is a piece of art and works as a whole. And it is certainly already now the best album done in 2010 to me.

Originally published on www.metal-archives.com on October 6th of the year 2010.

It was time when I really liked Therion albums. Unhappily, this time is gone some years ago. What doesn't mean their music is not good enough now. It just is different, and I am not sure these changes are for good.

New, just few days old Therion album is fantastic melodic epic. You will hardly find such melodic release nowadays! Operatic vocals are great to excellent as well. So - what is the problem?

Main problem for me is music itself. You will work hard trying to find even traces of progressive metal there on this album. Absolutely biggest part of this recording is straight forward melodic operatic metal, often - goth metal. Album is very accessible, catchy, with plenty of pop-metal elements.

In fact, strongest part of this album is melodies and vocals. All other is openly flirting with show business, and you will hear it very easy. So - good album for fans of melodic bombastic pop-metal with operatic vocals. Very average one (or even below) for any listener, searching for complex or just progressive musicianship.

When it comes to double albums, I think the best method is making them short and sweet (basically longer than a normal album), and this is the perfect example. With near 90 minutes of music, this album is easily digestable and overall, one hell of an album.

This is the album where everything just clicked for me. At times Therion can be a double edged sword, but this was the perfect balance between metal and opera.

With a weird concept about a librarian (weird) and runes and stuff, the songs do excell at high rates. There isn't a bad song on it really.

Perfect album with the best line up they've ever had (especially vocal wise, with both Mats Levin & Snowy Shaw)

CD 1

1. Der Mitternachtslöwe - The perfect balance. Amazing vocal performances and a great chorus. 10/10

2. Gothic Kabbalah - Love the chorus and the flute work is fantastic. 10/10

3. The Perennial Sophia - Has quite a doomy vibe to it and sounds a bit like HIM or Type O Negative. Great chorus. 9/10

4. Wisdom & The Cage - I love how this song changes so much. From the amazing vocals from Mats to the calm section that follows. Brilliant. 9/10

5. Son Of The Staves Of Time - Best song on the album, and one of the greatest metal songs ever made. This song has to be heard to be believed. The amazing vocals from Mats, and the epic beauty of the whole song. The video for the song is also worth checking out. 10/10

6. Tuna 1613 - Another perfect balance. Suprisingly cathcy and some serious riffing is involved. 10/10

7. Trul - My brother's favourite Therion song, and I can' disagree with him, this song does rule. With the female vocals that are just heavenly, to the chanty chorus and the Jethro Tull like instrumental section, this is one charter moment on the album. 10/10

8. Close Up The Streams - The riff in this song just rocks like a mofo. Weird chorus and some odd instrumental work adds to the grandness of the song. 10/10

CD 2

1. The Wand Of Abaris - This song is weird, but nonthless specataculaire. The chorus does have an odd contrapnuntal harmony with falesto male vocals, but it is incredbily infectious. 10/10

2. 3 Treasures - Love how well this song flows, and again provides a perfect balance. 8/10

3. Path To Arcady - Where Opera becomes interesting. 9/10

4. TOF - The Trinity - This song is mainly instrumental, but the guitar work is amazing. 9/10

5. Chain Of Minerva - This song would be amazing, if the lyrics weren't so stupid, yes, eagles don't eat flies. 9/10

6. The Falling Stone - The most power metal song on the album. Amazing vocal work and a great anthemic chorus. 10/10

7. Adulruna Rediviva - Therion's most longest and epic song. This is one mother of a song, with dramatic twists and turns and spine tingly moments at every turn. The perfect endings.

CONCLUSION: In my opinion their best album, I need to get aload more, and so do you!