The aggressive edge of the heavy guitar riffs and the malefic growling of Thomas Vikström in the opening track ‘Ninkigal’ elevates this opus to a new level of grandeur. The sonic palettes of Therion are very much in the lofty heights and bolstered with mesmerizing female vocals. In their everlasting voyage through myriad profound sonic works, Therion seldom goes beyond the norms, so the use of growling vocals here is an eye-opening experience. The elegant touch of the acoustic guitars turns into a beautiful ballad in the following track ‘Ruler of Tamag’ where the ears become blissed with the warm angelic vocals of Lori Lewis. The majestic choir forms a divine knot between the aggressive guitar hooks proposing a dual expertise musicianship in the heavy metal style. Musically, this epic song song burrows from Middle-Eastern mythology and lyrically glorifies the ruler of the Underworld in Turkic mythology called Erlik.

The musical elements are strewn and flow in and out in the mixing of the lush guitar strings, female vocals and timpani. The melodies are mystical and create an aura of charm with the symphonic and cosmic soundscapes driven by the emotionally charged dual guitar limns a lofty sonic portrait.  ‘An Unsung Lament’ harkens back to the 80s epic power metal. Overall, the song is faster driven with powerful female vocals that bring a sense of theatrical brilliance and orchestral textures. Although the track has some stunning moments despite its energetic vibes, I find the song less gripping than the previous ones.

The frantic opening of ‘Maleficium’ is easily recognizable as Therion’s orchestral work which invites the listener to expansive symphonic transitions and has a balanced fusion of heavy guitar sections with the talent of Christofer Johnsson and courtesy of Christian Vidal. The melody of the song seems to reflect ominous themes of darkness leaving an epic mark in the songwriting. The drumming of Sami Karppinen is steadily moving into a mid-tempo pace along the heavy guitar shredding.

“Leviathan III” soars high and resonates with the classic Therion albums like ‘Vovin’, ‘Deggial’ and ‘Gothic Kabbalah’. The atmospheric quality is unforgettable. Unleashing a powerful bombastic choir gives the songs a pompous feeling and you can’t resist being moved by the grandeur and beauty of the musical pieces from the ebbing choral to the occult mood provided by the emotional female vocals. Especially in the final moments of the highlight track ‘Ayahuasca’ the focus is laid upon the work of the lead guitars riffs bouncing back and forth, which fits perfectly with the majestic theme of the album.

There seems to be more depth to the songs if one would compare ‘Leviathan III’ to the previous parts. Therion infuses tons of power metal riffs, particularly in songs like ‘Baccanale’ shows the signature sound of combining heavy dynamics. The songs tend to move through an up-tempo to a more intense focus on power metal. Fans of classical metal will find many intriguing songs like ‘Midsommarblot’. Therion never regrets its overwrought symphonic grandeur. The beautiful, but catchy guitar melodies and solos provide some gritty musical performances from the Swedish ensemble. Those charming elements such as the majestic choral, percussion, and bass guitar of Nalle “Grizzly” Påhlsson offer a complex chemistry that is wielded by the magnificence of a virtuosic orchestra.

The dramatic backdrop of flawless atmospheric beauty is saturated with catchy tones and dramatic melodies that can be found in these emotional serenades. While the song ‘What Was Lost Shall Be Lost No More’ shows a sublime tone of signing and mixes aggressive power metal riffs that lead to vast epic musical landscapes. Therion has re-invented itself and this is what makes the album another towering achievement. The composition is lush with atmosphere, melodies and vivid symphonies and takes it to an expansive level. However ‘Duende’ is more acoustically oriented and inspired by the forgotten nights of Andalusia and flamenco dancing.

The growling in the final track ‘The Twilight of the Gods’ returns and the guitars create some dark riffs and they somehow give the song a gloomier theme that contrasts with the catchy female operatic singing. Like the burning phoenix rising from the ashes the sudden buildup of the violin and the swirling orchestra midway through the track are apparent before the chorus, the heavy riff and the guitar solos are just impeccable. Epic choir segments mesh well with the apocalyptic tone of the rhythm guitar in the background.

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