Beyond Chant

Therion is a Swedish symphonic metal band founded by Christofer Johnsson in 1987. The word 'therion' comes from the Greek therion (θηρίον), meaning 'Beast,' i.e., that of the Christian Book of Revelation. However, the band's name is a homage to the Celtic Frost album To Mega Therion. Beginning as a death metal band, they later turned to combining orchestral elements with their metal music, employing heavy use of choirs and classical musicians, not only as additions to but also as integral parts of the composition. Therion is the first metal band with fully live orchestra featured. It is also the band which originated, popularised and influenced the symphonic metal genre, cited as 'the most adventurous metal band at present'. Because of these extents they take in conducting their music, they have been dubbed as 'Opera Metal'.

Originally recorded in 1989, The Sacred Bridge contains a speculative program linking various genres of Christian and Jewish religious music, most of it medieval. The Boston Camerata continued to perform the program in various forms in subsequent years.

No less than 144 lesser known tracks from throughout the 1980s. OK, there are a few big hits on here such as Spandau Ballet's True, Ultravox's Vienna, Blondie's Atomic, Duran Duran's Girls On Film to name a few, but my love of this mega 80s multi CD box set are all the tunes that you won't find on every other 80s compilation album around.

An excellent round-up of the 15 hit singles that, between late 1980 and fall 1984, saw Spandau Ballet transcend every prediction ever levelled at their music, and establish themselves among the most versatile British bands of their era. From the utterly convincing white boy Funk of the early "To Cut A Long Story Short", "The Freeze", "Musclebound" and "Chant No 1", through the bodyswerve to ballad-ville that ushered in the age of "True" and "Gold", and onto the near-anthemic guitar pop of "Only When You Leave" and "Highly Strung", The Singles Collection suffers only from its failure to tell the tale in strict chronological fashion.

This must be one of the most important historical documents ever to appear from previously unavailable archives. Much as we admire and praise Davis’s Berlioz (whose latest Trojans we reviewed last month)‚ Beecham has to be at least his peer on this and much other evidence. His arresting‚ inspiriting and brilliantly crafted performance here is a thing to marvel at in its understanding of the true Berlioz spirit. He persuades his newly formed RPO and the BBC Theatre Chorus of the day into giving quite thrilling accounts of their music that not even indifferent sound can mar. Beecham was to have returned‚ at Covent Garden‚ to the grand masterpiece in 1960‚ but that was not to be: a severe stroke prevented what would surely have been his crowning service to Berlioz right at the end of his distinguished career.