Therion
Atlantis Lucid Dreaming

THE REVIEW

This album, released in 2005, is an "ensemble" of two previous works for Therion: "A'arab Zaraq Lucid Dreaming" and "Crowning of Atlantis", in remixed and remastered version.

Anyone who owns the mentioned albums can certainly do without it, but those who wish to get to know Therion and understand their artistic direction in broad strokes will find it essential to own, and, as usual, will enjoy it more and more. Dim lights, lyrical voices, orchestral arrangements, structured and complex Heavy Metal, and "historic" songs from bands that seem to have influenced Therion, are present here. From the start, with "In Remembrance" and "Black Fairy", it becomes clear where Therion started their journey and where they've gone since: refinement, genius, and unruliness for the champions of everything that is melody and decadence, without any doubt whatsoever. At this point, first break, and Therion offer us "Fly to the Rainbow" by Scorpions, with its cascade of guitar riffs, disappearing in the middle part first through a slowdown with an organ, then with some winds, plunging into a whispered and mysterious interlude that finally leads into an irresistible chorus.

The second cover is "Under Jolly Roger", performed live, originally written and published by Running Wild in 1987, which proves to be a powerful and robust song, which Therion perform in a strangely abrasive manner. We move on to "Symphony of the Dead", instrumental and fascinating in its baroqueness, and then to "Here Comes the Tears" by Judas Priest, which retains and expands its charm and solitude. End of the break, and the band's songs resume: "The Crowning of Atlantis", "Mark of Cain" and "Clavicula Nox", this one, in particular, completely rearranged and darkened by the male lyrical voice instead of, as originally, the female one, and the change is extremely convincing, resulting in a disarming sadness and decadence. Another break, and here we are with "Crazy Nights" by Loudness from 1985, with scraping guitars and a sustained rhythm, so much so that it almost seems impossible that it's Therion playing!

"From the Dionysian Days" is certainly the most baroque episode of the entire album and cannot leave one indifferent, but, moving on from this, one must pay attention to "Thor", a cover by Manowar, extremely powerful and heavy, an expression that Therion is a metal band 100%, with different aspirations certainly, but when they set their mind to it, they can really hit hard, and in this song, even if it's a cover, they succeed excellently! It's impossible to stay quiet and not sing it at the top of one's lungs. And now, the endings, entrusted to a "Seawinds", a cover by Accept from 1979, delivered in a very sweet and atmospheric way, exploiting the best of what Therion can offer, and to a "Black Sun" live version that creates tension and discomfort that were already palpable in the studio version, but here they are even more emphasized by the perfect and precise execution, with the added feeling of a live performance.

In conclusion, an anthology that serves, as I said, for those approaching Therion, otherwise, nothing new except for the superb magnificence of the band, of course.