Theli
Theli places its choirs so firmly at the front that they become part of the band. Therion use them for more than making a chorus larger. They carry melodies, respond to the guitars and establish much of the atmosphere. The Swedish group keep enough heavy riffs underneath to prevent the metal foundation disappearing beneath all those voices.
After the instrumental opening Preludium, To Mega Therion demonstrates the approach. High choral singing stands against galloping guitars and firm drums. The result is openly theatrical, but its clear melodies remain fairly easy to follow. Keyboards and lead guitar provide additional movement, keeping the song interesting beyond its large vocal sections.
Cults of the Shadow is just as important to the album's appeal. Bass and keyboards establish a recognisable pattern that the voices later take over. This connects the instruments and choir rather than treating them as separate elements. The guitars remain active participants instead of simply providing a backdrop for classical singing.
The balance between the different voices is not always as convincing. Some of the ordinary vocal passages struggle beside the choir. A few songs also sound quite similar despite the number of sounds and ideas involved. Elsewhere, Therion move between styles so clearly that the atmosphere feels less settled. That restlessness reflects a band exploring a wide range of possibilities.
The Siren of the Woods gives the album some breathing room through its quieter character. It helps the larger pieces around it work more effectively. Theli can feel awkward and takes up considerable space, but its combination of heavy guitars, memorable melodies and expansive vocal arrangements remains appealing. The ambition produces enough strong music to carry the less comfortable transitions.
