I am vaguely familiar with Sweden's Therion, seeing their
name constantly across the net on metal sites and hearing
select tracks from their extensive discography. Other than
this, I have little knowledge of the band, knowing only that
they push the envelope of heavy metal and extreme music.
Therion started way back in 1987 as a death metal act, evolving
with each release, incorporating folk and symphonic metal,
keyboards, choirs, female vocals and other experimentation,
while still retaining elements of traditional metal. Because
I haven’t heard the bulk of the band’s past material,
this review will be treated as if I'm hearing the band for
the first time.
Gothic Kabbalah is a two-disc album which includes
15 tracks. For the recording, the core of the band is still
intact with founder/guitarist Christopher Johnsson, drummer
Petter Karlsson, and Kristian and Johan Niemann, lead guitarist
and bassist, respectively. Johnsson gave up his vocal duties
prior to the album, thus session members were also required,
including vocalists Mats Leven (Yngwie Malmsteen) and Snowy
Shaw (Mercyful Fate, King Diamond), and female vocalists Hannah
Holgersson (studio lead/soprano) and Katarina Lilja (lead
vocals). Various other instrumentation too extensive to list
also was used for the recording; I would not know where to
begin.
Gothic Kabbalah is truly like nothing I have heard.
The album is a dark, epic, innovative and, yes, somewhat gothic
metal soundtrack. It requires repeated listens to fully appreciate
the amount of work involved with this project and to embrace
the numerous different musical styles. Upon pushing play,
you're immediately introduced to the highly operatic female
lead vocals, which intertwine here with a more traditional
heavy metal male vocals. The style takes some getting used
to, but during parts to which they are suited, you eventually
find that they work perfectly. Lead vocals provided by Katarina
Lilja are of the more traditional metal sense and make symphonic-goth-metal
anthems such as “The Wisdom and the Cage” instantly
memorable with impressive hooks and beautiful choruses. Add
an organ (or at least what I think is an organ), atmospheric
keys and virtuoso guitar work with this vocal performance
and “The Wisdom and the Cage” is the strongest
track of the first disc. “Sons of the Staves of Time”
features fist-pumping, power metal lead male vocals not unlike
those of Sonata Arctica or Blind Guardian. “Tuna 1613”
has the most metal sound of any tracks on disc one, with a
chugging riff, distorted vocals and ridiculous organ solo
in the latter half. The folk-chanting ending of “Trul”
will bring a smile to your face and is just one of the more
accessible parts of the album.
I am confused about one thing. As I am listening to the promo
of this album, all 15 tracks are contained on one disc, so
why the need for a double album? The material of each disc
is not far removed enough to stand on its own, thus giving
the impression Therion just wanted another two-disc release
under their belts. Maybe the answer lies within the packaging
from the official release or in the album's underlying theme.
On disc two, “Three Treasures” is a folk-metal
masterpiece, a slower, brooding sound gives way to a majestic
chorus reminiscent of Pink Floyd with the melodic lead and
background layered vocals. “Chain of Minerva”'s
gothic chants give the listener visions of a medieval religious
proceeding. “T.O.F. - The Trinity” is Therion
at its symphonic metal best, with a galloping rhythm, more
classic virtuoso guitar work and massive orchestration. Several
songs have an Arabian feel, such as the luring sound of “The
Wand of Abaris” or the backing instrumentation of the
noticeably heavier, epic album closer “Adulruna Rediviva.”
Therion requires its listeners to have an open mind with
it's broad musical landscape and the band's insistent approach
to break new ground and not re-tread over recycled ideas.
On the downside, with so many vocalists contributing to the
effort, it's hard at times to distinguish who is doing what
and the album suffers mildly from not having one prominent
voice in every song. The session members do an outstanding
job, however, presumably under the constant direction of Johnsson.
Christopher Johnsson seems to be a masterful composer after
hearing this release. I wonder if he would have been mentioned
in the same breath as other classic composers, had he lived
in that time.
Gothic Kabbalah is not a conventional album and
not something to play at your next beer party. The music is
to be taken in as a whole and multiple spins will be needed
to appreciate the complexity. It's unlikely that all metal
fans will be drawn to this album. However, this is a perfect
representation of forward-thinking metal, an album that could
help an average person gain a new respect for the entire genre. |