siLLy puPPy In short, THIS ALBUM IS BORING AF! Read on if you want to know why

THERION has been around forever at this point at least by metal standards having formed all the way back in 1987 and made a name for itself in the early years by climbing the ranks of the Swedish death metal scene by incrementally releasing one slightly more experimental album followed by another. Some say that founder and creative mastermind Christofer Johnsson was seriously smitten after hearing the choral sections on Ozzy Osbourne’s classic 1981 track “Diary Of A Madman.” Randy Rhoads of course was one of the pioneers of the neoclassical sounds and had he not perished prematurely could’ve possibly been the mastermind of a band like THERION but it was Johnsson who saw the higher potentials of mixing classical music with heavy metal and well, the rest is pretty much history with a never-ending supply of metal divas rocking to Orff inspired Wagnerian pomp fortified by Iron Maiden guitar gallops.

The classic years of THERION started with 1996’s “Theli” where the band suddenly dropped all death metal pretenses and went full on symphonic classical mode and in the process took the world by storm by taking the neoclassical shtick to the next logical level by incorporated massive symphonies, choirs and mining the opera catacombs of their wealth to incorporate dramatic vocal grandeur in a heavy metal context. The results sorta made your hair stand up as it was bold, refreshing and utterly unthinkable! The formula remained fresh and vital all the way up to the band’s 13th album “Gothic Kabbalah” which was released in 2007. But then it seems everything started going down the ole crapper. Not only did the entire musical cast part ways leaving Johnsson to reinvent the band once again but the main man himself was suffering from the physical battles scars of the demands of live performances. He suffered intense neck and shoulder pain as well as spine disc herniations. Not only did he temporarily lose his ability to perform but seems all that divine inspiration that made THERION such a fan-damn-tastic band to experience just sorta up and left!

Starting with 2010’s “Sitra Ahra” THERION was a completely new beast but all the vitality of the past had somehow disappeared with the rest of the band and suddenly for the first time it sounded like THERION was just going through the motions with a by-the-numbers generic delivery of been-there-done-that material. Obviously the wells of inspiration had run dry so Johnsson decided to take a stab at recording an album of classic French pop songs adapted to metal on 2012’s “Les Fleurs Du Mal” which was a slightly more interesting albeit divisive endeavor albeit a far cry from the classic THERION years. With inspiration clearly waning Johnsson decided to finally unleash his ultimate end game vision of what THERION could be. While this project has always been about the gleeful fusion party where operatic divas and headbangers unite under one flag, nobody really considered THERION to haver released a true bona fide metal opera with OPERA in all capital letters.

After “Fleurs Du Mal” Johnsson focused on a side project called The Luciferian Light Orchestra which basically created a less metal version of “Gothic Kabbalah” which set the stage for the next project by THERION. Having had the idea to finally take THERION to its logical conclusion with a fully developed metal opera, Johnsson began working on what was meant to be his most ambitious project yet and in 2018 it finally came to light as the triple album set BELOVED ANTICHRIST which consisted of a whopping 46 songs based on “A Short Tale Of The Antichrist” by Vladimir Solviov. Somehow he forgot the “short” part of the tale and expanded the story to include 27 characters played by 15 vocalists and while this may sound a lot like what Arjen Anthony Lucassen has crafted in his project Ayreon, let’s just say that this one doesn’t quite live up to the hype.

The opera is described as a theatrical presentation in which a dramatic performance is set to music and originated at the end of the 16th century in Italy with many historians claiming Jacopo Peri’s “Dafne” being the first example of 1598. That means there have been over 500 years of opera in existence. Some of the most popular examples are Monteverdi’s “L’Orfeo,” Purcell’s “Dido And Aeneas,” Handel’s “Julius Caesar” and Gluck’s “Orfeo Ed Euridice.” Having dropped most of the metal characteristics of yore like an impotent headbanger who lost his viagra, this can only be considered a metal OPERA by the most fertile of imaginations but if you’re looking for some juicy guitar riffs or anything resembling the band’s past glory, your expectations will fall flatter than silicon boob job gone horribly wrong. This is an opera album through and through and not a very good one at that. Never have i heard 46 consecutive songs sound so mind numbingly bland in all my life. To be fair there is metal to be heard but it’s so dreadfully dull and mostly absent with only a few tracks thrown here and there.

Needless to say THERION does nothing to add to the opera legacy not even by the tiniest despite limp noodle metal music being inserted into its format. This is basically a traditional opera in every conceivable way with only some rock and metal music being snuck in for the sake of calling this a metal opera. In reality this 3 album set is a chore to sit through but as a THERION fan i felt it was my duty to listen to the entire thing all the way through although with an initial sense of trepidation having a keen sense of what to expect. There are no metal vocal styles, only the traditional clean sung opera variations. The three albums are woefully paced with no rhyme or reason or any sense of dramatically buildups to some climax. Badly paced and woefully lacking any sort of interesting musical hooks, all THERION can do is retread past glories by piling on extra layers of fluff to create a false sense of achievement. Flatulent guitar riffs, incessant Pavarotti worship tenors and divas sounding like they need bowel movements endlessly persist for a staggering ONE HUNDRED AND EIGHTY THREE MINUTES :o

What we have here is an impressive piece of work but on paper only. Everything about this is impressive. Hell, just the fact that it exists is one for the history books but when all is said and done BELOVED ANTICHRIST is a three hour blackhole that sucks three hours out of your life never to be retrieved. If that isn’t the ultimate act of evil, i don’t know what is! In summary, the only thing that comes to mind when i struggled through this one is that the once mighty THERION has finally gone off the deep end. I could think of a million ways to make this boring dross more entertaining but it is literally the epitome of an opera set on autoplay with no end in sight. Despite all the talent and efforts that went into this one, it is utterly devoid of soul and the whole thing feels forced for the sake of its mere existence. I’ve never been a huge opera fan but at least when i do occasionally experience some of the classics i can feel the passion behind the creative process that went into them. In this case i only feel a band that has lost its way and gotten a distorted sense of grandeur that is attempted but woefully lost. Please, Christofer! Let it go! THERION needs to rest now. Hint hint. No! Mommy! Make it stop! AAAAAAHHHHHHHH!!!!!

Did i mention that THIS ALBUM IS BORING AF?