Christofer Johnsson, the leader of the symphonic metal band Therion, warned a few months ago: he no longer wants to tour as intensively as in the past, and now only wants to perform in good conditions.
We therefore appreciate all the more that he accepted the invitation of the French turner Garmonbozia to come and visit us in Paris, on a rainy Sunday evening in February.
The Moulin Rouge Machine is not completely full, but the spectators present are clearly motivated.
They therefore have a triumph as soon as the predominantly Swedish combo appears on the stage, and attacks with the fast “The Blood of Kingu”.
As usual, Johnsson is the most discreet of the group, with short hair and a butler's vest, the rest of the troupe sporting much more rock'n'roll looks.
But he and his second guitarist, Christian Vidal, are not left out to deliver steely riffs of which they have the secret, no less than three vocalists coming on board.
The secret of Therion is known, metal rhythms and angelic or more virile voices, Lori Lewis, Rosalia Sairem and Thomas Vikström thus passing the buck.
And it is true that the formula proves particularly spectacular on pieces alternating between gentle and violent phases, such as “Ruler of Tamag”, the first new release of the evening, or the classic “Birth of Venus Illegitima”.
On the second and final new release of the day, “Twilight of the Gods”, coming from “Leviathan III”, released last December, Lori's rises in the high notes literally give the shivers.
The public also particularly appreciates the following two titles, two covers of French pop or variety songs from the 1960s, “Mon amour, mon ami” and “La Maritza”, popularized by Marie Laforêt and Sylvie Vartan, and extracted from this funny 2012 album, “Les Fleurs Du Mal”.
Personally, we would have preferred other extracts a little more rock from this unloved opus, like “Initials BB” or “Popée De Cire, Poupée De Son”, but Therion does not miss the exercise.
Goosebumps
In the applause meter, it is still the old hits that stand out, especially since the musicians take care to present them - "And now a classic" - such as the orientalist "Ginnungagapp", where Lori once again reaches heights stratospheric with her soprano voice.
And provokes in many spectators what Thomas will later describe in a mixture of English and Spanish, as “la piel de gallina”.
Yes, Thomas, in France, it's the same, we say goosebumps... A feeling that we also experience during the last obligatory passage proposed, the epic "Son of the Staves of Time".
The only downside in the end was the absence of some frenzied cavalcades from the repertoire, including a “Wine of Aluqah” which we thought would be irremovable.
Only two titles on the encore.
First “The Rise of Sodom and Gomorrah”, at the end of which Christofer finally speaks, launching into a perilous parallel between the two biblical cities of the title and Paris.
Without a cause and effect relationship, the musicians encourage the audience to sing the first verse of another extract from “Fleurs Du Mal” (the record), namely “Les Sucettes”.
But it is indeed the essential “To Mega Therion” which closes the proceedings in a final deluge of decibels as instrumental as vocal.