Sweden's symphonic metal veterans Therion need no introduction. With a career spanning over three decades, they are a revered act whose secret to success is none other than mainman, Christofer Johnsson. This album marks the second part of the "Leviathan" trilogy, whose first installment was released last year and the final chapter is scheduled to come in 2023. Johnsson is a restless musician, always striving to take creative leaps and the past fifteen years or so are a testament to that devotion. I have been a Therion fan since my teenage years, being introduced to them via "Secret Of The Runes" and eagerly absorbed explored their catalogue backwards. And while I embraced "Gothic Kabbalah", the experimentation from "Sitra Ahra" onwards lost me and, if I'm being honest, I haven't really kept up with the releases that followed. When it comes to the "Leviathan" trilogy however, my teenage self was intrigued to read that it would consist of about 40 songs, designed to "give fans what they want this time". This statement may have ticked the right boxes for me, but whether that's a actually good thing or not, is a discussion for another time.
And while "Leviathan" (LI from now on) had a very catchy and dynamic range of songs, truly getting hype from what I assume would be considered as Therion's "golden era", "Leviathan II" (LII from now on) takes a step back and moves towards a more nostalgic dimension. Drawing more influences from the earl-mid '00s discography, we are met with a familiar pandemonium; groovy guitars, imposing choral arrangements, eastern-inspired guitar solos, vigorous male lead vocals and mesmerizing soprano layers.
The first couple of songs, namely "Aeon Of Maat" and "Litany Of The Fallen", while still conveying that aforementioned familiarity, still feel kind of foreign; the former is a melting pot where all the added layers result in, not necessarily a dissonance, but a definitely overwhelming feeling. In my ears, the introductory song is beckoning the listener by seducing them with a brief presentation of what's to be expected and if they focus on one thing they might as well miss the rest. The latter, also being a single ahead of the release, with its distinct staccato choral parts, gives me a sense of repetition in its structure. The hook is contagious for sure, but other than the presentation, the body of the song gives the impression of being shallow -and the fact that at times it's reminiscent of the verse of Nightwish's "Last Ride Of The Day", certainly doesn't help. When I first listened to the album, I was quite disappointed with the bittersweet first impressions those two left me and feared what would come my way next. With "Alchemy Of The Soul", however, this changed and the female vocals took the lead in a very beautifully composed power ballad, the kind of that, when done right, speaks straight to your soul. Mr. Johnsson has apparently started playing his strong cards from that point onwards. Like the seasoned composer that he is, he will drop the tempo for a little while and navigate emotions, hitting that very soft spot that we all have for the slower Therion songs. You know, the ones like "Lemuria" and "The Perennial Sophia", whose intensity lies in the powerful interpretation and not the volume of the guitars.
"Lunar Coloured Fields" that is next, follows in a quite similar path, where the classical tones are at the forefront (although a little shrill at times in the change of register). The unexpected bursts of energy are cleverly constructed over the rhythm section's gradual intensity, enriching the ambience and intensifying the way we perceive the symphonic elements. "Lucifuge Rofocale" is the stereotypical composition that fully encapsulates the creative genius of Therion. In that vein, "Marijin Min Nar" is the type of song whose live delivery, with all vocalists engaging the crowd, would be phenomenal -and that guitar solo in the end is to die for. "Hades and Elysium" is probably my favorite track in the entire album. Slowing things down once more, the duality of the female leads is truly gripping, as the backing instrumentation engulfs everything. In the midst of this tranquility, Thomas Vikström's thunderous interval gives the song the electrifying touch it needed to fully elevate it.
"Midnight Star" is a not-so-subtle return to action, as the guitars shape the dynamic character of the track. Don't be fooled though, nothing about it is predictable. The beautiful complexity graces the song with a twist halfway through, when the electric delivery is disrupted by an all-male choir and a significant drop in the rhythm. As it gradually picks up to a more anthemic nature, the classical male lead juxtaposes Thomas' trademark metal vocals that preceded it, for a final crescendo. And while "Cavern Cold As Ice" is the least memorable song on the album, "Codex Gigas" is one of the more imposing compositions. Reaching the end, "Pazuzu" makes for a true old-school banger and the most fitting way to close this chapter. But are we done? Nay nay. Both "Aeon Of Maat" and "Pazuzu" are reintroduced for the grand finale, with alternative vocals and an AOR version respectively, proving that even the slightest changes in a song can make a great difference in the outcome.
Overall, "Leviathan II" feels like it's comprised of rarities or b-sides from an era that still holds a dear place in my heart and I'm totally fine with that. Compared to LI, LII is lacking a sense of grandeur that works as the glue binding all tracks together and while they flow quite well, I feel there's some incompatibility in the selection. LI set a standard that LII doesn't full live up to and I can't help but think that if this was an independent release, instead of part of a trilogy, I would be more eager to oversee some things that didn't completely win me over.
That being said, LII may not have reinvented the wheel but it played ball with nostalgia like very few can, and did so quite well. It may not be the most stand-out example of their discography, but album #18 (yes, 18) has cemented a part of Therion's legacy.
7.5/10
0 σχόλια :
Post a Comment