LEPACA KLIFFOTH

Therion's journey from being a standard death metal band to finding their own niche in the field of operatic/symphonic metal was a gradual one. The first two albums had shown only the barest of hints hidden away behind the endless growls, and the eclectic "Ho Drakon ho megas" saw band leader Christofer Johnsson exploring a number of styles while still relying mainly on the sounds which he had shown a preference for up to that point. "Lepaca kliffoth" is the next stepping stone on the way, and while there are some significant changes to report, this really represents the last of the old more than the start of the new.

This would be the band's first release for Nuclear Blast Records, whom they have remained with to date. In terms of line up, once again leader Johnsson makes wholesale changes, with only drummer Piotr Wawrzeniuk remaining on drums.

Christofer Johnsson's ongoing interest in the Dragon Rouge cult is once again the source of inspiration for much of the lyrics, and "Vovin" makes a first appearance when he is the subject of an "evocation" towards the end of the album. "Theli" also gets a first name check in a Hawkwind like romp through"Riders of Theli".

In terms of notable significant progress, Johnsson finally dispenses with the growling,and makes a conscious attempt to sing melodically. He also brings in classically trained singers on three songs. Being candid, Johnson's singing is not that wonderful, being more of a shouting indulgence. The instrumentation is however noticeably more adventurous, with keyboards becoming ever more significant. The lead guitar too is more focused on playing rather than simply thrashing out riffs.

The segued tracks "Arrival of the Darkest Queen" and "The Beauty in Black" (the latter released as the band's first single) finally offer the first genuine taste of what was to come from Therion. A wonderful instrumental piece, quite unlike anything we have heard before from the band, precedes a magical piece of operatic singing. Male and female vocals combine against a heavy backdrop in a song which suffers only from its brevity.

Elsewhere, "Darkness eve" is for the most part a song with little to distinguish it. For the final minute though it bursts into an exquisite instrumental passage. The following "Sorrows of the Moon" is a cover of a song by Celtic Frost, a principal influence of Johnsson's during Therion's early years. While not actually growled, the spoke vocals here are only for the converted. The title track brings a new level of heaviness, with a hypnotic chant sitting on top of a dark instrumental. The album closes with "Evocation of Vovin", the second song to offer a firm indication of the direction the band would follow hereafter. The quasi-symphonic instrumentation is much lighter and more melodic than on the rest of the album, with some fine lead guitar thrown in too. Vocally, Johnsson is still shouting rather than singing, but the brief return of the operatic singers offers some compensation.

In all, an album which is essential for those with an interest in discovering how Therion re- invented themselves. The album itself is an enjoyable listen overall, but it is its place in the evolution of Therion which is the most important thing here.

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