THELI

I have to assume that you are curious or at least mildly interested in Therion, or you wouldn't have pulled this review up. Therefore, I'd like to say some things before I get started. First I want you to have an open mind, not because Therion's music is weird but because it isn't weird. If you've got some preconceived idea that their music consists of brutal screaming, growling Death/Black metal, that couldn't be farther from the truth. What is this music? It is thoughtful, lush, exciting, melodious, unique, bombastic, grandiose and classical. If you like your music simple, move on, you won't like this. Therion's music is complex, almost as complex as all of the symphonies or operas you've most likely heard.

If you like or at least appreciate the classics, there's a good chance you'll like Theli. If you like your heavy metal with an edge and more progressive like Dream Theater or Yes, then you also might like Theli. If you like the classics and metal you can't miss, you'll love Theli. Theli and subsequent Therion releases combine Heavy Metal on one hand and Classic/Opera on the other perfectly by amalgamating these polar opposites into an amazing symbiosis.

Theli "Preludium", 1:43, A short overture featuring organ, synth and a plunky guitar.

"To Mega Therion", 6:34, Although the music is heavenly, some of the lyrics are kind of scary, dealing with mythology and ancient gods, a sample - "Powers of Thagirion, Watch the great beast to be, For to Mega Therion, The draconian melody, The dragon open the eye, And reveal both truth and lie". The lyrics are mostly sung by the choir and are difficult to understand. This song contains a medium tempo and features the choir almost from beginning to end. Keyboards are also featured prominently.

"Cults of the Shadow", 5.14, The metal elements of Therion show themselves in the beginning, before the choir and orchestra kick in through this medium paced song.

"In the Desert of Set", 5:29, A little slower more purposeful beat wit the male and female choir members singing separate parts. there is also solo singing on this and the preceding song. The song has a stronger metal feeling as well.

"Interludium", 1:47, A continuation of the opening overture.

"Nightside of Eden", 7:32, A darker deliberate sound, medium slow tempo, with a variety of singing and instrumentation.

"Opus Eclipse", 3.39, an instrumental with a heavy bass guitar feeling responding to the choir and the violins.

"Invocation of Naamah", 5:31, Very heavy metal piece but the choirs make it feel like an opera.

"The Siren of the Woods", 9:55, Being almost almost ten minutes long this song starts out slowly with a pretty, ethereal melody played by guitars and keyboards and vocalized by a restrained choir and male and female solos. At about the 5 minutes mark it changes it's texture and takes on a delicious bombastic attitude which includes a lovely piano lead while still keeping the medium slow pace.

"Grande Finale / Postludium", 4:04, could not have a more appropriate name, an instrumental, with its soaring violins countering dark ominous bass sounds. This is probably my favorite.