Burzum Flac

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'.

Empyrium is a German symphonic folk/doom metal and (later) neofolk/dark folk band.The band draws inspiration from nature as some of the album titles reveal. Consequently, Empyrium are often referred to as a dark folk or apocalyptic folk band, expressing in their music (most conspicuously in the last two albums) sentiments akin to those expressed by some other 'legislators' of the genre, as Forseti, Orplid, and Ulver (Kveldssanger). Connoisseurs of dark folk will mention that many of Empyrium's compositions are true representatives of the genre, as, for instance, Dying Brokenhearted, The Shepherd and the Maiden Ghost ("Where At Night…"), Heimwärts, Waldpoesie, Die Schwäne im Schilf ("Weiland"). Intricately woven and always impregnated with an exquisite wistfulness or profound, remorseful sadness (Dying Brokenhearted), these compositions may be regarded as a manifesto of the dark-folkloristic gloomy and pantheistic Weltanschauung. The lyrics are mostly in English, though in Weiland only German is performed. Like the Norwegian black metal band Burzum, Empyrium also used Theodor Kittelsen's drawing on one of their album covers (Where at Night the Wood Grouse Plays).

Souvenirs D'un Autre Monde (2007). The relationship between heavy metal and the so-called "shoegazer" movement of the early '90s might not be apparent in writing, but with Justin Broaderick's amazing transmutation of his grinding industrial metal in Napalm Death and Godflesh into the dark, sonic bliss of his current incarnation as Jesu, it doesn't seem so far-fetched anymore. Immediately upon first listen the connection between one-man band Neige's French "black metal" roots and his current neo-psychedelic explorations under the Alcest moniker doesn't seem so far-fetched, natural even. Playing all the instruments on Alcest's debut full-length Souvenirs d'Un Autre Monde, Neige builds layers upon layers of ecstatically distorted guitars that evoke obvious comparisons to My Bloody Valentine's sonic extravaganzas and less obvious nods to the brooding minor-key post-metal of Jesu, only perhaps a bit sunnier…

Even with hindsight being 20/20, it was easy to predict that France's Alcest, would eventually cast off black metal's influence on its sound. While Burzum's Filosofem provided inspiration for 2007's full-length debut, Souvenirs d'un Autre, recordings by My Bloody Valentine, Ride, Slowdive, and Lush did too. Alcest may not have been the first "blackgaze" band, but until Deafheaven broke through with 2013's brilliant Sunbather, they were its most famous proponents. Shelter, Alcest's fourth album, finally transcends all of metal's musical, sonic, and aesthetic tropes. It is deeply indebted to its '90s British inspirational sources and wholly invested in the melodic sensibilities this group has displayed from the very beginning. Songwriter/multi-instrumentalist Neige (Stéphane Paut) and drummer Jean “Winterhalter” Deflandre enlisted Sigur Rós' Sundlaugin Studio, and its producer, Birgir Jón Birgisson…