Artist: Therion
Label: Nuclear Blast
Release Date: 3/7/00
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Title: Deggial Artist: Therion Label: Nuclear Blast Release Date: 3/7/00 |
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Abyss's Review:
The kings of symphonic metal are back. And I must admit I've never fallen completely under this band's spell. While I've always respected the scale to which they brought their art, I always considered it a little too out there for me. The operatic vocals that I dig so much in black metal, are prevalent in the entity that is Therion throughout, rather than just being used for contrast and complement to ultra heavy music. Therion use this technique, not as a gimmick, but rather as a driving force behind their music. This is a commendable ambition, even if it does make getting into their thing a little harder for the average metalhead. But, for me at least, this time seems to be the charm. While the vocal style is still not my cup of tea, it becomes apparent early on that this band is the best at what it does. The music, I think, can be described as "orchestral maneuvers in the dark" (which I think is the name of some crappy band, but it works well as a genre style). This album is much more far reaching than its heavier, death laced brethren, such as Opeth, November's Doom, and Theater of Tragedy. The strings, acoustic and electric guitars, operatic vocals and percussion seem to be less interested in bearing out any aggression- meaning that any heaviness seems to be an afterthought rather than a driving force. Normally this would turn me off completely, but Therion are so damn good at it, they've pulled me in. They seem to be much more interested in creating a total soundscape; so much so that I often, despite the heavy parts, forget that this is actually a metal band. This may not sound like a compliment, but it is. So elaborate is their sound, that I find myself becoming encapsulated within it, despite my petty grievances. And my grievances are few and far between. With the exception to not digging the vocals that much, the only thing I can think of to say bad about this band is that they're not that heavy. On the other hand, I think mixing the guitars higher and thicker (they have an interesting, tube distortion sound that is sometime reminiscent of classic rock rather than metal) would make the whole opus seem cheaper, or at least less grand. Another album which should be taken as a whole, rather than split up into tracks, I have to believe that long time fans will find this album a pleasure, as it has brought me into the fold, even though I entered into the contract under every possible prejudice.
"The music, I think, can be described as "orchestral maneuvers in the dark" (which I think is the name of some crappy band, but it works well as a genre style). "
Death's Review:
"Orchestral" or "symphonic" metal, they call it. I'd prefer the terms "choral" or "operatic," although parts of "Via Nocturna Part I, II" sound like Peter and the Wolf at times. I suppose the symphonic elements of guitarist/vocalist Christopher Johnsson's latest project are enhanced by the notion that none of the classical sounds were done on keyboards -- the actual instruments were always used. But to think of Deggial as a purely classical endeavor is to miss out on the metalness of it all, which is, in truth, my favorite part.
The opening track, "Seven Secrets of the Sphinx," delivers an almost immediate, straightforward eighties- metal riff with a warm and fat tone, straight from Accept's "Balls to the Wall." A classic metal guitar sound under multiple layers of vocal harmony. Track two, "Eternal Return," opens with a twin-guitar musing worthy of comparison to Seventh Son of a Seventh Son - era Maiden, then works through a few quiet passages before settling into a Mountain King -era Savatage gallop. (I also hear Savatage or Trans-Siberian Orchestra on the guitar solo/string interplay on "The Flight of the Lord of the Flies.") The evil riff stylings of Mercyful Fate, mixed with the harmonic and melodic Iron Maiden guitar attack (and the occasional outburst of Jon Schaeffer (Iced Earth) -sounding guitar riffage ("Via Nocturna Part I, II")), can each be found on portions of several of the albums' later tracks. Throughout, the fluid transitions to quieter passages universally sound fantastic. The precision with which the guitars, bass, and drums of Therion blaze through the varied power metal stylings found on Deggial is truly impressive. This highly competent performance is helped by an excellent production (check out the softer parts of "Ship of Luna," one of the album's finer moments). Both musically and sonically, this is a top- notch release.
"Both musically and sonically, this is a top-notch release." So the quick and dirty explananation is "artful power metal enhanced by symphonic elements." But while Therion may be symphonic metal, they are a hell of a lot more metal than symphonic. Listen closer and you'll notice that the strings are actually quite subtle, and merely complement rather than overshadow the metallic performance. What takes Therion from the realm of the straightforward to the avant garde is the almost exclusive (well, "Flesh of the Gods" does sound like just another catchy power metal song!) use of layered, choral vocals. Truth be told, sometimes it works, but as an exclusive vocal element it gets old rather quick. For pure gothic power, operatic or symphonic vocals are an excellent way to introduce a sense of bombast or drama in an intro to a song, or just as the lights go down but before the band begins playing at a live show (doesn't Ozzy use "O Fotune," track eleven here?). But as the focal point of a true metal band? Interesting, but, in the end not really my bag.
At times, the vocals are beautiful. Second vocalist Martina Hornbacher has a wonderful voice that is well presented here. The mix of strings, vocals, guitars and drums all achieve a uniform sense of musical balance (check out the first minutes of "The Invincible") that is alarmingly absent from other, relatively crude attempts like Metallica's S&M.
Still, many less adventurous metalheads will surely not be interested. Those who know Therion will appreciate the production and the well-recorded strings, as well as the vastness of the vision and enormity of the sound achieved on epics like the folk-flavored first part of the title track, or the progressive guitar soloing intensity (if you like guitar solos, also listen for a great one which ends "Emerald Crown") of the same song's second half.
"Too metal to be considered by anyone but metalheads, but how many metalheads can listen to a substantial amount of operatic or symphonic-themed metal, no matter how artful the journey ongoing underneath? Overall, an excellent and unique effort." Those who like to experiment should ask themselves this: Would I be interested in hearing an album full of the operatic portions of Queensryche's "Suite Sister Mary," crossed with Amorphis' Tuonela rock sound, spiced with a bit of Helloween or Blind Guardian European fury? Deggial is truly a musical journey, presented with heartfelt honesty, emotion, and originality. Ironically, however, by realizing such a broad musical vision and daring to stray beyond the narrow limitations of the accepted metal aesthetic, Therion has ultimately limited their appeal. Too metal to be considered by anyone but metalheads, but how many metalheads can listen to a substantial amount of operatic or symphonic-themed metal, no matter how artful the journey ongoing underneath? Overall, an excellent and unique effort. Not one I'll be pumping my fist to for the rest of the year, but it has been a decent soundtrack for the past few cold and snowy nights.
Hel's Review:
If you're looking for a straightforward metal album, this isn't it. There are more "other" types of music than metal on this disk, but Therion still creates a moody, heavy atmosphere that pleases. Well, it pleases me, anyway. The use of strings and other orchestral instruments as an integral part of the songs goes far toward establishing the mood..
That's not to say there is only one mood set upon this disk. Certainly, during "Eternel Return" the keyboards create the mood of a manic carnival ride of death. Some songs evoke dark operas, others perhaps religious masses of doom. Having not had the time with this one to try to discern the actual lyrics, I am basing these descriptions on the feeling I derive from the music, not the actual words of the songs. Realistically, I think I could probably live out my life without knowing, I am satisfied to simply immerse myself in the rich sounds.
"This album defies categorization as neatly as it sidesteps repetition. The range of styles, instruments and tempos are inspiring." This album defies categorization as neatly as it sidesteps repetition. The styles, instruments and tempos are inspiring. Some songs are heavy, others are less so, but they are all masterfully played by all involved. Many of the songs incorporate orchestral and choral elements. "Ship of Luna" has a wonderful ending with the strings fading off. "The Invincible" is a good example of choral work, the chorus has a rich sound comprised of several male and female voices singing different parts.
All and all, while this is not as heavy as I usually look for in a metal album, I like the complexity and the richness of this release. There's a wonderful world of sound with excellent production and arrangement. This is not a slapdash, "let's play our songs with an orchestra" album. This is a masterfully crafted, beautifully dark album.
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