Lepaca Kliffoth

After the headless predecessor Symphony Masses: Ho Drakon Ho Megas, Therion took a short creative break, focused on more consistent song writing, and grew together as a new band and unit to release Lepaca Kliffoth in 1995. Along with band leader Christofer Johnsson, who would perform vocals, keyboard, and guitars, Polish drummer Piotr “Docent“ Wawrzeniuk, who was once involved in a Polish punk rock band called Panzer Service, returned. Parts of “Evocation Of Vovin“ mix classic heavy metal with Middle Eastern-tinged melodies with a vivid punk vibe, which may be due to his influence. The trio was completed with Fredrik Isaksson from the death metal band Excruciate, who would later play in another famous Swedish death metal band called Grave. The few death metal moments on this release are restricted to “Let the New Day Begin“, however.

Lepaca Kliffoth has nothing to do with Therion’s death metal roots anymore, apart from a few select harsher riffs here and there. The guitar play has evolved in a more melodic direction and even features some power metal-inspired passages, such as in “Melez“. It’s the same thing for the vocals. The growls have been replaced by a shouted singing style by Christofer Johnsson. The band leader is giving more and more space to professionally trained operatic guest singers in addition. Hans Groning performs bass and baritone vocals and Swiss singer Claudia Maria Mokri, known for performing on Celtic Frost’s To Mega Therion and its follow-up Into The Pandemonium, performs soprano vocals on “Lepaca Kliffoth“. In addition to this, the album includes a decent Celtic Frost cover with “Sorrows Of The Moon”. Another Swedish background singer and a German guitarist complete the list of invited musicians. The combination of different vocalists works especially well in the soft “The Beauty In Black“, and my personal favorite, “Evocation Of Vovin“.

The thing that strikes me most when listening to Lepaca Kliffoth is how much the song writing has evolved in the past two years. This symphonic gothic metal record goes back to the atmospheric occult sound elements of the past, but also surprises with beautiful and truly catchy melodies that stay on your mind. The mellow and mysterious goth-rock single “The Beauty In Black“ comes around with appeasing orchestrations and beautiful piano melodies. The experimental sound effects of the predecessor have been reduced and are now employed in a more harmonious manner, as seen in the mystery-infused title track “Lepaca Kliffoth“. The new songs feel less overloaded and more balanced, and give the melodies and vocals the time to unfold and become memorable.

This album finally sounds like what would make Therion famous over the next two decades, but the lyrical content has also improved and refers to more and more mythological elements from Middle Eastern cultures. The term “Qliphoth“ refers to the representation of evil spirits in Jewish mysticism. The realm of evil is also termed “Sitra Ahra“, “Vovin“ means “Dragon”, and “Theli” is the name of the great Dragon according to the Sefer Yetzirah, the oldest book of Jewish esotericism. All three names would later on become titles for other Therion records. On that subject, the artwork is a mixture of a hydra and a vovin as well.

Despite several intriguing tracks, the album needs several spins to grow on, and isn’t always easy to digest. In addition to this, no track comes close to the epic mastery of “The Way“ from Beyond Sanctorum. This would be different on the essential follow-up Theli, which would be released one year later.

Lepaca Kliffoth was more than just a transitional album for Therion, but a visionary record that would define the new band sound and its lyrics for the years to come. It’s probably the most interesting release of the early years for those who have known Therion as a symphonic metal band only. The mixture of symphonic elements and operatic vocalists, Middle Eastern folk influence, and an angry punk vibe is definitely very original. If Therion hadn’t released several masterpieces in the years to come, the reception this record would surely be better nowadays. Had it been released by another band, Lepaca Kliffoth would be a highlight in almost any discography.

Originally written for Black Wind Metal

Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with Symphony Masses: Ho Drakon Ho Megas, Lepaca Kliffoth remains the stunning and memorable masterpiece of the band's career. A transitional phase between the band's death metal roots and the hybrid of symphonic, gothic metal they would carry forward for the rest of their years. This is an extremely dark album. The band retains their fascination with obscure occult magicks and prophecies within the lyrics, and the music revolves around very simple mid-paced metal riffs drenched in the vocal libations of Christofer Johnsson.

The album starts off strongly with "The Wings of the Hydra", and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song's namesake. "Melez" begins with an unforgettable bass trot, soon covered in glorious octave chords and speed-picked, almost flamenco acoustic guitar, then breaking into a simple but mesmerizing verse, an interplay of keyboards and more of that Middle Eastern feel to the guitars. But the true joy is the excellent, creepy flute/guitar exchange late in the track, which feels like the introduction to some daemonic snake charmer. "Arrival of the Darkest Queen" uses flutes and keyboards to herald the album's 'hit single', "The Beauty in Black". Glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band will use on later albums. Other excellent tracks include the charging "Riders of Theli", the crushing doom of "Black" which would have fit almost perfectly on Into the Pandemonium. Speaking of Celtic Frost, and as if to prove the massive influence they have, Therion offers a cover here of "Sorrows of the Moon". The rest of the album is equally dark and enchanting, with other standouts being the title track and "Evocation of Vovin".

Some might have found the production on the album crude yet I love it to this day. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a slightly above average death metal band into the gods of crushing gothic death. There are very few parallels to something like this, and it belongs in the collection of any fan of quality occult metal.

-autothrall
http://www.fromthedustreturned.com

Perhaps my fellow-reviewer “Khull” is partially right when he states Lepaca Kliffoth sadly escapes the ears of many a metalhead and Therion fan, as from my personal experience it’s an album which has always somehow escaped me; it’s actually by far my least favourite Therion full-length alongside Of Darkness, albeit for totally different reasons. Of Darkness is objectively a solid work, but that kind of death metal just doesn’t really appeal to me. Lepaca Kliffoth on the other hand appears to be the only moment the band seems to lose his proverbial coherence and solidity, perhaps in a rush for some still briefly glimpsed at Promised Land – a land called Theli, for instance.

This is hardly surprising. I highly doubt anyone would think a milestone like Theli suddenly came out of the blue by divine intervention of the Great Red Dragon Himself (y’know, the guy looking at you from the cover of our present album. Coolest Therion cover ever). Indeed Lepaca Kliffoth constantly alternates between some kind of pre-Theli rehearsals, experiences reminiscent of its predecessor Ho Drakon Ho Megas and elements without any real equivalent anywhere else in the band’s discography, like an obvious thrash influence. Still everything lacks a bit of consistence or, as written above, coherence - the highly experimental, incantatory HDHM or the versatile fifteen-songs Gothic Kabbalah probably sound more coherent than this. Besides, what about those songtitles? They don’t seem to have been thought out a lot considering gems like Darkness Eve, Let’s the New Day Begin or, worst of all, BLACK! I’m ready to bet Suicidal Bedroom BM Band Nb 666 from my beautiful country would come with more creative titles. Also, meditate on this little fact: this is the only Therion full-length featuring a cover song, by the way a pretty nice, gloomy rendition of Celtic Frost’s Sorrows of the Moon. While Therion has recorded an impressive number of covers, those are usually relegated to bonus material, live performances or EPs. Who’s said filler?

Of course most of these songs, including the ones with stupid titles, are good... But let’s admit the fast, storming Riders of Theli - no, it isn’t on the Theli album - with its raging aggressiveness masterfully tempered by a highly melodic lead guitar, and the lively, over-the-top closer Evocation of Vovin - no, it isn’t on the Vovin album - working as the perfect transition with the following album are the only truly impressive tracks. On the other hand The Wings of the Hydra works as a pretty lacklustre opening; comparing the impressive riffs found in Baal Reginon (or even The Return or Future Consciousness) with this pale, flat effort merely built on two notes would be similar to comparing the night and day. The title track is a slow, doomy, low psalmody with similar magic purposes as the title track from the previous album but unlike that one, I’ve always found it to be a rather obnoxious piece. I mean the two thirds may be as atmospheric, ominous and frightening as you want, this silly Le-pa-c-c-a-K-l-if-f-o-th ending will still ruin everything. There’s little to say against the other songs, nice riffs here and there with a regular touch of orchestral keyboards, but again nothing which would make you unmistakably think you’re listening to the great Therion.

But, it’s the great Therion, precisely. So here’s the point everyone is waiting for – THE VOCALS. After his ever-changing singing performance on HDHM Christofer Johnsson has once again altered his style for what would be his last album as a lead singer, and honestly this isn’t for the best. These somehow thrashy, bestial, but above all VULGAR barks may work very efficiently in small doses on Theli, here as the main vocals they become rapidly irritating, and whatever genuine the talent and imagination of Mr Therion may be, he for once would have been better sticking with growls altogether. Perhaps did he simply aim for the most striking contrast with his newly introduced operatic singers, after all.

Some may object this isn’t his first experiment of the kind; however I hold the opera singing on Beyond Sanctorum as very anecdotal. A couple of lines on Symphony of the Dead, some chanting on Paths which isn’t even a genuine song, that’s more than scarce. So let’s now have a look at this famous Beauty in Black, Therion’s first single, a landmark not only in the band’s history but perhaps in the whole metal history – no, there weren’t any Nightwish or Suckin’ Temptation back then. Frankly... retroactively this isn’t a great song. Not only Therion will do much, much better as early as the year after, but even on this album the two songs I’ve already mentioned are objectively better. When a band has recorded some monster called The Siren of the Woods, a mere majestic ballad with an ambitious keyboards intro (don’t ask me why there’s a separate track for it – probably to add another lame title to the list) and lyric singers reciting their little verse about the woman with a face as pale as her soul is black appears as little more than a charming babystep. Of course I love this song, in all its both touching and archaic ingenuity, but once again if you wish to hear the true premonition of Theli, including the operatic part, it’s in Evocation of Vovin.

Too harsh? Maybe. Though the compositions are more or less lousy, though Johnsson’s voice would break the most experienced nerves Lepaca Kliffoth is still an imaginative album with its occasional moments of genius. I couldn’t consider seriously recommending it to the newcomer, though. Also don’t bother with the bonus tracks, both are A’Arab Zarach Lucid Dreaming quality material at best.

Highlights: Arrival of the Darkest Queen/The Beauty in Black, Riders of Theli, Evocation of Vovin

Yeah, this is one of those albums that straight up kicks your ass. Lepaca Kliffoth is perhaps the most overlooked album of Therion's career; plenty of people have heard their death metal oriented stuff, and of course their fame as a symphonic outfit, but by and large Theli's smashing success really prevented this album from getting the attention it deserves. Lepaca Kliffoth sadly escapes the ears of many a metalhead and Therion fan, which is a damn shame considering the music found here is, like most Therion releases, unique to itself and utterly genius.

Lepaca Kliffoth is the 'bridge' between death and symphonic era Therion; there are a number of little quirks that mark the beginnings of their later sound, including extensive keyboard usage and soprano female vocals. However, Christofer just wasn't ready to let go of the death metal mentality completely, as the guitar distortion and technique are quite reminiscent of their first three works. Drumming mimics that of their death days too; complex and ever changing beats aren't heard at all, instead fairly routine yet standard drums are laid on each song. The end result means Kliffoth is something like an extra-heavy, heavy metal album, and it works brilliantly.

There's stuff here for every type of Therion fan. Wings of the Hydra, Darkness Eve, and Melez are simple crushers serving as the last remnants of the dying style; Darkness Eve even featuring some of the best riffs of Therion's life. Evocation of Vovin, Lepaca Kliffoth, and Beauty in Black herald in the now-signature symphonic style, offering dynamic melodies, soprano female vocals, and a number of verses utilizing keyboards. Evocation of Vovin, the closer, is especially well placed on the album. Perhaps the most different than any of the other tracks, it's place makes for the ultimate closure of Therion's death metal days. It's also one of the best tracks on the album.

One of the bigger negatives, or turn-offs, are Christofer's vocals here. His pitch is the same as that of death-era Therion, especially Symphony Masses, but this time around all the harshness has gone out of it. What you're left with is a voice freakishly resembling that of a man with too much food stuffed in his mouth, trying to sing without taking the time to swallow. No better is this shown than the chorus of Black. When taken in context of Kliffoth's sound as a whole, they aren't that out of place, but expect them to feel quite goofy the first spin or two. In addition, certain tracks suffer from an overly-chuggy sound, especially Wings of the Hydra and Melez – those still largely riddled with death influences. While the songs eventually please the ears, the initial listen could generate potentially negative feelings – I personally feel they were two rather bad choices for starting tracks, but I'm not Christofer to decide that.

All in all Lepaca Kliffoth is a damn solid Therion album, one that most certainly deserves more recognition than it gets. Highlight tracks include Darkness Eve, Black, and Evocation of Vovin.
The recommendation here goes out to any Therion fan, as well as those digging straight heavy metal in general. You're doing yourself a disservice, especially as a fan, by not listening to this album. This isn't a death metal album; this isn't a symphonic album. Lepaca Kliffoth hovers somewhere in between, a heavier sort of heavy metal.

Now that I've listened to "Gothic Kaballah", I've decided to review all Therion albums one by one. I'm starting with "Lepaca Kliffoth" because it's their first album where there are no death metal elements (since I cannot stand death metal). It's also one of their greatest and most underrated albums to date.

First of all, I'd like to point out that "Lepaca Kliffoth" isn't death metal. I cannot stand it when people use the phrase "their first four death metal albums" because this isn't death metal at all. If I had to classify "Lepaca Kliffoth", I'd say it's experimental heavy metal. It's experimental because we get to hear soprano and bass vocals on some of the tracks ("Beauty in Black", "Black" and "Evocation of Vovin". It also contains a lot of keyboards and middle-eastern melodies. If you listen to "Arrival of the Darkest Queen" and "Lepaca Kliffoth", you can see that this is way more experimental than their previous album.

If you want a Therion album to headbang to, look for nothing but "Lepaca Kliffoth". From the very first second of "The Wings of the Hydra", you know what this album is going to contain; hardcore vocals, melodic keyboards, catchy guitar riffs and an overall haunting atmosphere. You'll also notice that it's nothing similar to death metal; in fact, "Lepaca Kliffoth" cannot be compared to any Therion album. It's unique in every way.

This album doesn't really have weak tracks. All songs are great and unique. However, if I have to pick favorites, they would have to be the fast and catchy "Riders of Theli", the beautiful and haunting "Black" and the amazing, haunting "Lepaca Kliffoth". The latter is my favorite track. I especially love the chants toward the end.

Anyway, "Lepaca Kliffoth" is an undiscovered Therion treasure. Although it isn't Therion's greatest album, it's still among their best efforts so far. The production is just perfect, and you also have to appreciate the fact that this was released twelve years ago. I cannot say that you'll like it if you like the later Therion efforts, but it definitely worked for me.

When Christofer came back from Switzerland, after recording a Messiah album, NuclearBlast wanted to sign them. They agreed, recorded their first single, The Beauty in Black, which sold 12.000 copies in Europe without any special promotion. Then came this album and sales picked up a bit, when compared to their earlier efforts. Now they had pretty much left their death metal sound behind, picked up the heavy metal, which you could hear in Symphony Masses if only you listened careful enough, turning symphonic and drastically changing the vocals. They were originally growls, turning into grunts for the previous album – now they were some kind of hardcore screams. It sounds rather strange, if truth be told, and is not as great as Dan Swanö’s vocals on Theli.

The bass playing on Ho Drakon Ho Megas was really striking, here there’s a new bass player. His name is Fredrik Isaksson and even though there’s still an occasional solo, his way of handling the instrument is not half as busy as Andreas Wahl’s was. On the tour with Annihilator following this album Fredrik’s personal problems (including abuse) and Piotr’s problems with Fredrik made him leave the band to be replaced by Lars Rosenberg (Entombed). But that’s a later story.

Lepaca Kliffoth is in a way even more experimental than Ho Drakon Ho Megas, because none of the new elements had really been tried in metal before. Especially not mixed. So what are the new elements? Well besides Christofer’s hardcore screams, he also manages to produce some bass-baritone vocals – and this is perhaps the start of the operatic vocals they’ve been using more and more. There are more keyboards than ever before, more melodies and some Persian influences. Today oriental and Egyptian-sounding riffs are commonplace, but they weren’t in 1995.

The production is better than ever before, and so is the guitar playing, perhaps as a result of lessening the downtuning. The riffs are really cool, and when combined with the keyboards you almost think of Theli. The keyboards are improved, and used a lot more. They provide melody, atmosphere and some of the brilliant, pulsating intensity that they showed off on the next album. Sorrows of the Moon is a cover of a Celtic Frost song, providing some epicness to this album which otherwise showcases a certain speed in the drumming and generally more heaviness and headbanging than Symphony Masses.

The title track sounds pretty much like Vovin with edge, the symphony is there but it’s combined with much more intensity, and it’s tuned lower. The ritual chant sounds kind of stupid though. Evocation of Vovin is a song that has everything, intense intro, progressions, a kick-off with distortion and vocals, transcending into a middle-part with perfect keyboards, continuing into one of these plodding yet headbanging parts where you just wait for the beat to pick up again. And it does, oh, it does.

So, Therion got the pieces together and managed to develop their sound even further without sounding as odd as on Ho Drakon Ho Megas. People bought it, because this is some excellent metal, pioneering the symphonic metal and showcasing some excellent guitar work. For any person who likes Therion really.