ALBUM REVIEW: Leviathan III – Therion
Ahead of the Leviathan series, which began in 2021, THERION band leader Christofer Johnsson predicted Leviathan III, the third and final part, would be the least popular. Describing it as adventurous in its stylistic diversity, he also acknowledges these songs are those ‘left over’ from the prolific recording sessions that led to three albums in as many years.
It’s to his and the band’s credit that the wide array of influences come together to form a kind of rich mythological tapestry, exploring world cultures while flexing their musical virtuosity. There is real complexity to much of Leviathan III – particularly the harmonies and counterpoints of What Was Lost Shall Be Lost No More, which sounds like a song on top of a song on top of a song – but the progressive influences exist to elevate and differentiate THERION from their peers. As one of the foundational pillars of symphonic metal, they sound here like a safe pair of hands, especially as they enjoy this bountiful bout of creativity more than 35 years into their career.
That these tracks are effectively the overarching project’s misfits makes this a deceptively straight-forward collection of high quality songs. They all have to be worthy of standing on their own instead of as part of a greater whole, and they are. Released ahead of the album, and where the Leviathan series was born, Ayahuasca is a tight track of two halves, beginning with a metal stomp for a backbone, grounded by riffs and the sense of ceremonial preparation, before transitioning into a transcendental haze with a dreamlike bass-line, reflecting the effects of a psychoactive brew.
That sense of slipping into another mental and spiritual state is a running theme in the middle of Leviathan III, like on Baccanale, an ode to the liberated euphoria brought on by Dionysus. Lori Lewis’ ethereal voice, evoking ABBA and Susanne Sundfør, dances with grace over punk-influenced guitars, the music unrestricted by genre and unrestrained like those taking part in the titular festivities. Its choral chorus, backed by a thrash-syncopated snare, sounds like worship over a quickening heartbeat. Then Midsommarblot continues this sense of giving oneself over to something greater, with a sinister twist involving sacrifice. Imagine THE 5TH DIMENSION’s Aquarius gone metal.
Leviathan III still manages to shock with its disparate palette when Duende comes along, complete with flamenco intro and a waltzing oom-pah-pah. A show-stopping vocal performance from Rosalía Sairem is hair-raising, and in a record packed with moments of grandiosity, it’s this display of pure otherworldly talent that feels truly divine. Appropriately the song deals with finding the supernatural in music, and the physical responses to channelling this through performance. If THERION wanted to make a flamenco metal record, this is the evidence it would be something special.
Maybe the eclectic individualism of each track will make Leviathan III the least popular of the trio as Johnsson predicts, but it doesn’t deserve to be. From the pure folk-influence on the majestic Ruler Of Tamag with its emotionally rousing crescendo, through the 70s-indebted Greek storytelling of An Unsung Lament, to the climactic and apocalyptic final boss music of Twilight Of The Gods, THERION find themselves in one hell of a groove. Deep into their fourth decade, the creativity continues to pour out of them, and time and time again they earn their place atop the symphonic metal genre.
Rating: 8/10
Leviathan III is set for release on December 15th via Napalm Records.
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