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Symphonic metal, sometimes known as operatic metal when referring to artists fronted by an (usually female) operatic singer, is a sub-genre of heavy metal music. Symphonic metal is heavily influenced by classical music, with bands creating symphonies to back a more traditional metal setup of vocals, guitars, bass and drums. The sound is most typically created with a synthesiser; however actual orchestration is often used as well, and choirs are also a commodity within the genre. Unlike other metal music styles, the keyboards generally have more of a leading role in an artist’s sound than the guitars.

Symphonic metal finds its roots in the Swedish band Therion, who originally played death metal. The 1996 album Yeah! Yeah! Die! Die! Death Metal Symphony in Deep C by Finnish band Waltari is also considered to have been an important influence on the genre. Therion had dabbled in experimental ideas and classical influences, but with the release of their fifth album Theli in 1996 the band was producing what is now considered to be symphonic metal. Such releases provided the template for bands such as Nightwish and Within Temptation, who both released their first albums in 1997, although each had elements of other genres in their sounds, those being power and folk metal on Nightwish’s Angel’s Fall First and gothic metal on Within Temptation’s Enter, which is actually best considered a gothic metal release, although the band would later become more symphonic based with the release of their second album, Mother Earth in 2000. Although the birth of symphonic metal as a genre is associated with the late 90s, metal artists had made use of symphonic elements long before that - for instance, Celtic Frost's To Mega Therion (1985) and Into the Pandemonium (1987) both contain tracks that feature symphonic elements, and in 1969, proto-metallers Deep Purple released Concerto for Group and Orchestra which features The Royal Philharmonic Orchestra.

The term symphonic metal is sometimes used to describe any band that uses symphonic elements, particularly if those symphonic elements are greater than what is normal for the genre in question. There are a few notable and common hybrid symphonic metal styles; symphonic black metal, symphonic power metal and symphonic gothic metal, although there are some less common hybrids such as symphonic death metal, and with the emergence of artists like Across the Sun and Winds of Plague, symphonic metalcore. Each of these styles retains the elements of said style without the symphonic prefix however, which means that when considering symphonic metal as a standalone genre there are not as many artists that can be considered as such as there may initially appear. Even many of the most known artists of the style containing many elements of other metal styles, such as power metal in Nightwish and progressive metal in Epica. Therefore symphonic metal bands are best defined as such if they have a dominant classical influence to them. This is especially important where symphonic gothic metal acts are concerned, as there can be much overlap between the two styles.

While many symphonic metal bands feature a female lead singer, it is not a staple of the genre, although such bands tend to have been more commercial successful both within and without of the metal circles due to having more mainstream accessibility to their music. Many female vocalists in the genre sing in an operatic classical style, which works to effect with the classical inspired symphonic backing. It is this particular brand of symphonic metal that has been alternately labelled as operatic metal. Some artists such as Epica, After Forever, and the early work of Within Temptation combines the female vocals with death growls, in a style that is commonly referred to as ‘Beauty and the Beast’ vocals. This approach has also been utilised in some female fronted gothic metal artists.

Although symphonic metal is widely seen as one of the more commercial metal genres, there exists an extreme variant of the style. Taking more cues from extreme metal sub-genres than normal but retaining the dominant classical influence, the term is best used to describe bands that are influenced by black and death metal, but keeping their main focus on the classical influences. Such artists are less common however, and the term extreme symphonic metal has been used interchangeably with symphonic black metal.

- Written by adg211288 with the input of the Metal Music Archives Admin Team

Sub-genre collaborators (shared with Gothic Metal):
  • DippoMagoo

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THERION Leviathan II

Album · 2022 · Symphonic Metal
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Kev Rowland
It is incredible to think Christofer Johnsson formed Therion more than 35 years ago, as they are still putting out wonderful symphonic albums of great depth, and here they are returning quickly with the second part of their ‘Leviathan’ trilogy. The first came out in 2021, this towards the end of 2022 while the next is due in 2023 so they were obviously conceived, if not recorded, at the same time. Johnsson said he has achieved everything he had wanted after the release of ‘Beloved Antichrist’, and was bereft of ideas so sat down with lead vocalist Thomas Vikström to work out what to do next, and they decided that instead of progressing in the way they wished to why not give the fans exactly what they wanted?

This means Christofer Johnsson (guitars), Sami Karppinen (drums), Nalle Påhlsson (bass) and Christian Vidal (guitars) providing hugely complex and complicated multi-layered arrangements which also have plenty of room for Thomas Vikström and Lori Lewis to really shine. It is symphonic, metallic, progressive, orchestral, melodic, designed for rock arenas and classical stages alike, blending together different forms so the join is seamless. One wonders how many hours were spent in the studio by the singers as they are multi-tracked time and again to create harmonies on top of harmonies, yet for all this the band never move away from being a guitar-led rock band. We even get some Middle Eastern influenced in “Marijin Min Nar” where Lori shows not only her rock voice but some professionally trained high soprano which is just sublime.

This is an album which has enough melody and hooks within it to capture the listener the first time of playing, but when more time is invested the rewards are great. When played on speakers one gets one level of understanding, although only if the volume is high, as there is much more to comprehend when using headphones. It is a compelling piece of work, and there is no doubt Johnsson has achieved his aim in giving fans what they want, and now we all eagerly await the conclusion of this set later this year. Yet again, Therion have delivered wonderful symphonic metallic music of the highest order.


Album · 1996 · Symphonic Metal
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Therion finally found the sound they’ve been chasing for a long time and ended up with a full on Symphonic Metal classic with tons of Gothic, Progressive and extreme Metal influence. Tons of guests here, it’s lush with different instruments, vocal styles, and overall styles.

As one of the earliest examples of the genre, Therion were pioneering a sound that would later be super influential in the strain of Symphonic Death Metal bands and the darker, more Gothic tinged side of the genre as well. Most of the guitars are rhythmic in nature, with lead melodies usually being carried by vocals, string instruments and keys. It’s a wildly fun album that just has so much going for it.

Weak points include the aforementioned guitars (about 2 memorable guitar leads here) and an over relying on operatic vocals, which can get grating pretty quickly. Other than that though, it’s a great quality album way ahead of its time.

P.S. The Metal portion of Siren of the Woods is phenomenal, but the song is scalped by having a four minute intro.


Live album · 2020 · Symphonic Metal
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"S&M 2" is a double live album release (which in the days of vinyl would probably have been a three- or a four album release). The album was released through Blackened Recordings in August 2020. The title of the album refers to the 1999 "S&M" live album, which is a similar collaborative effort with Metallica playing along side the San Francisco Symphony Orchestra. While the original "S&M" (1999) concert performance was conducted by Michael Kamen, the concert performance on "S&M 2" was conducted by Michael Tilson Thomas and Edwin Outwater. The "S&M 2" concert was also filmed and given a theatrical release in October 2019. A Blu-Ray version was released simoultaniously with the live album.

"S&M 2" features 22 tracks and a total playing time of just little under 2 and a half hours. Needless to say it´s a massive body of music, but since Metallica have written so many instantly recognisable heavy/thrash metal tracks, the playing time doesn't necessarily feel that long. Disc 1 is dominated by post-"The Black Album" (1991) material, although it also includes "The Call of Ktulu" and "For Whom the Bell Tolls" (and of course a classical orchestra version of "The Ecstasy of Gold" by Ennio Morricone, which is always the opening track at Metallica´s shows.

Disc 2 predominantly features "The Black Album" (1991) and pre-"The Black Album" (1991) material, although it also includes "The Unforgiven III" and "All Within My Hands", and a couple of classical music pieces (by Sergei Prokofiev and Alexander Mosolov).

Adding a symphonic orchestra to rock music is nothing new and several other rock and heavy metal artists have done it before (including Deep Purple and Metallica themselves as mentioned above), and with varying degrees of success. Honestly I was very critical of "S&M" (1999) when it was released, and I felt it was like standing in between a heavy metal band´s rehearsal room and a concert hall where a classical orchestra played. I don´t think that recording worked that well and the two parts of the music just never gelled. Thankfully "S&M 2" works much better and to my ears the heavy metal part of the music and the classical orchestra parts now function as a unit, and create a new and interesting take on Metallica´s music.

Metallica are as well playing as ever and the album features a superb sounding production job. Everything is audible in the mix and there´s some great audience interaction from Hetfield (relatively sparse, but it works) and you can often hear the audience sing along, which in this case is really nice and definitely enhancing the listening experience. So all in all I´m much more entertained and satisfied with this second "heavy metal meets classical orchestra" attempt from Metallica. A 4 star (80%) rating is deserved.

THERION Leviathan II

Album · 2022 · Symphonic Metal
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Swedish symphonic metal masters Therion are back with their 18th studio album, which is also the second instalment of their “Leviathan Trilogy” launched last year with the release of the first Leviathan album. Out on October 28th via Nuclear Blast, Leviathan II sticks to the template Christofer Johnsson announced for the trilogy: to give fans a bird-eye overview of Therion’s classic sound in all its different facets, from bombastic and catchy “hits”, to melancholic symphonies, to adventurous excursions in proggy territories. The first Leviathan mainly focused on the hits, while Leviathan II takes on the moodier aspects of the Swedes’ music, using their iconic 1998 album Vovin as a blueprint.

The guitarist did keep to his word and the 11 songs we find on Leviathan II sound indeed as a sort of “best of” of Therion’s most melancholic material from the period between Vovin and Sirius B. The songwriting mostly idles in the mid-tempo range, although there are frequent tempo changes that ensure unpredictable injections of energy, keeping proceedings lively. The mood is solemn and gloomy, an effect underscored by the use of grave and lush choral arrangements that use the full spectrum of voices, from soprano to bass. The vocal melodies are excellent and I love the smooth way that the operatic singing is intertwined with a more straightforward rock/metal style. The alternation between different vocal styles (and singers) throughout the album propels it forward dynamically, escaping the pitfall of unidimensionality that has plagued some previous Therion’s records. The mellower and more introspective nature of Leviathan II also invites a slower unwinding of the music, without rushing for the big chorus hook as it was instead the case for the previous album. As a result, Leviathan II features a better balance between instrumental parts and vocals, compared to the first instalment of the trilogy. There are more spots for guitar and keyboard solos as well as lengthier instrumental passages, with great interplay between chuggy guitar riffs, orchestral scores, and 1970s Hammond and mellotron keyboards.

These qualities make Leviathan II a rather enthralling listen from start to finish. The quality of the material is consistently high and Johnsson wisely injects good variation across the 11 compositions, alternating soft ballads (“Lunar Coloured Fields”, “Hades and Elysium”) with more energetic pieces, in some cases even reviving the use of harsh vocals (“Lucifuge Rofocale”). The middle section of the album may plod a little, with material that feels a tad less inspired (“Hades and Elysium”, “Midnight Star”), but things take a very interesting turn towards the end of the LP. Here Johnsson sneaked in a couple of proggy moments, perhaps as an appetizer for Leviathan Part III, which has been announced to lean into progressive rock territory. This is most apparent on “Cavern Cold as Ice”, which is also my favourite track on the album. It starts with a Jethro Tull-like flute flourish that soon makes space for some beautiful ABBA-infused vocal harmonies and a melody that could feature in a Broadway musical. Things get even weirder as a menacing mid-section slows down the tempo to doom levels of sluggishness before the song explodes in a climactic solo. Quite an adventure indeed! “Pazuzu” is another gem, featuring a tremendous performance by Eclipse’s singer Erik Mårtensson which adds an extra gritty kick to the song, closing the record in style.

For all its positives, Leviathan II (and the trilogy as a whole) puts this reviewer in a difficult conundrum. On this album, like on its predecessor, Therion deliberately take inspiration from their own back catalogue to capture and revive the essence of the “classic Therion sound”, and write new classics with it. In that respect, Leviathan II is a resounding success: the music on this album is really strong, probably the best Therion have recorded in over a decade. However, why should you buy and listen to this record, rather than dust off the shelves your old copy of monumental albums like Vovin or Theli? There’s no easy answer that works for everyone here. Personally, I find that those early albums possess a stronger mystique, and possibly better flow and coherence, too. On the other hand, Leviathan II has better production value (the choirs and orchestrations sound fantastic) as well as more refined songwriting and arrangements that come with the additional two decades of experience that Mr. Johnsson has meanwhile developed. In the end, I can happily live in a world where the Leviathan trilogy coexists with the band’s back catalogue – spinning the latter when I want a more immersive and momentous experience, and the former when I need a quick fix of quintessential Therion sound.

[Originally written for The Metal Observer]

APOCALYPTICA Plays Metallica by Four Cellos

Album · 1996 · Symphonic Metal
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Here’s something that I imagine nobody asked for, and I imagine not many people are interested to listen to, but here we have it anyway; ‘Plays Metallica by Four Cellos’ by Apocalyptica. An album of Metallica covers played by, well… four cello players.

I give them kudos for originality, I mean, surely there’s not much else out there like this, and in their world of classical instruments, this might make them stand out quite a bit (it sure must have, because they’d go on to become a legit metal band), but overall, this is just kind of boring to listen to. I don’t care much for cellos, although a full-blown orchestra covering Metallica would have been more exciting. But cellos? No thanks.

Still, it makes an interesting novelty listen I guess. But after one or two plays the novelty wears thin. Why would anyone want to listen to this over the actual Metallica versions? Perhaps classical music fans that want to dabble in something different than the usual Bach or Beethoven? Who knows?

The end result, however, is that it put them on the map, and now they’re in a successful recording and touring band, and I’m not. So maybe I need to take up the cello instead!

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NIGHTWISH Showtime, Storytime

Movie · 2013 · Symphonic Metal
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You probably know the story. Anette Olzon, Tarja Turunen's replacement at the Nightwish mic was let go in the middle of the band's tour for Imaginaerum, and Floor Jansen was summoned to be her stand in at an extremely short notice, finally ending up as the permanent vocalist. At least for the time being, that is, knowing the band's tumultous history with their front women. While all this was happening they had the cameras rolling for a tour documentary they would probably have released anyway, but this turn of events naturally kicked the interest level up a notch or two.

The documentary starts at the turning point of the tour - the gig with the Kamelot singers while Anette was hospitalized and the heroic entry of Floor Jansen, and so naturally the viewer expects a dramatic back story of how they got to the low point. But no, the tour starts out great and everything goes smoothly and the touring machine is examined in great detail from many angles right down to Tuomas Holopainen's wine bottle stand under the keyboards. The tour continues to be a success and everyone is having fun, and suddenly they have insurmountable personnel strife that just can't be salvaged. Especially after reading the mercilessly honest and brutally detailed official band biography, it's very disappointing that the problems with Anette are in no way explained. They just couldn't continue being in the same band and that's that.

So the big potential is wasted, possibly due to Anette's refusal to be included in any form, and that may after all be a blessing in disguise, since the documentary was originally supposed to be a stand alone release. I'm only guessing here, but perhaps this bastardisation was the reason they chose to include the Wacken gig as well, and push the documentary to the second disc.

And holy hell are they on fire in the main feature! I get immense pleasure from the sense that this group that I started listening back in 1997 when I first heard The Carpenter on a metal compilation cassette (fuck yeah) made by a friend, and lost for some years after Once, has finally found the perfect line-up without a single hiccup. Tarja's voice was what made the band stand out in the beginning, but as a metal frontwoman she was always awkward, as was the pop-oriented Anette Olzon after her. Third time's the charm, and in Floor Jansen they have a true stunning metal goddess with lungs to handle any and every song from the band's catalogue while making them her own. And let's not underestimate the official addition of Troy Donockley, who brings important colour to their sound. I'll be excited to hear how the band utilises his rather metalless but extremely pleasant voice on the next album.

The band is captured touring my favourite Nightwish album, so the setlist leaves little to be desired, but it would've been nice to hear more than one track from their first three albums. And Scaretale from Imaginaerum, though that was such a perfect performance by Anette that I doubt Floor can top that. Nightwish as a musical unit is so much tied to the taped orchestrations these days that it leaves very little space for improvisation, which is why it's nice to hear a little additional keyboard solo in I Wish I Had An Angel, and which is also why it's easy to let the newly improved vocal department steal the show.

Put cameras on this show, and it's bound to be brilliant. The band were on top of their game on this tour after the personnel change, so it will be interesting to see how they make the new line-up work on record. For the first time since 2005 I'm eagerly awaiting the next Nightwish album.

Concert ***** Documentary **½


Movie · 1999 · Symphonic Metal
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"Let's hear it for Michael Kamen yeah!" He was the only one who had the guts to do this. This is the ultimate exercise in excess, to marry Metallica with a Symphony orchestra. The DVD is a crystal clear well edited package onthe ultimate event of the year. It is great to watch the orchestra getting into the music and then to see Metallica banging along. The crowd are as raucous as any Metallicrowd and of course it is as heavy as it always is. There are some fantastic surprises such as Call Of Cthulu sounding very Gothic and powerful with the violins and brass. The concert shows in equal measure the band and orchestra trading off seamlessly. It has been done before of course with Deep Purple and other metal acts. It is almost becoming a cliche of late with many bands taking up the idea including Kiss, Within Temptation, Dream Theater and Therion, all of which are captured on DVD. Non metal acts have done it such as Camel, Yes and ELP. The weird thing about it is these orchestral and rock marriages always work for me. I love to hear that massive orchestral sound with the crunching distortion of guitars. To hear a violin sweep across when you expect a guitar solo is bliss to my ears.

There are so many highlights on this DVD including Master of Puppets, more dramatic than ever, the darkness of super heavy The Thing That Should Not Be, The Memory Remains, iconic with audience participation, Nothing Else Matters, a definitive highlight and the crowd are in raptures when this is played. For Whom the Bell Tolls sounds very Gothic with the sweeping violins, and the song One is a masterpiece with the orchestral accompaniment.

The footage is professionally shot and edited as you would expect and it is nice to see the orhestra mamebrs having fun with this. None of the songs are less heavy, they are augmented to majestic heights. Watching this concert live is the best experience which is perhaps a pinnacle of the group's existence. Soon after it all turned sour as we know, captured on the astonishing Some Kind of Monster doco, but it is so great to see Metallica at the height of their powers as we do in S & M. Check out this DVD to see metal at its grandest.


Movie · 2005 · Symphonic Metal
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I find that music DVD’s can be a hit or miss thing’s with fans but this one is a definite hit. If you haven’t had the chance to see Within Temptation live then this DVD captures them at their flawless best; perfect renditions of many of their best songs, spanning all four studio releases that they had at the time, great stage sets and special guests. I’ve actually seen the band while they promoted the album that they released in 2007, The Heart of Everything and in that show they mainly only played songs from said album and The Silent Force, throwing in a couple of fan favourites from Mother Earth, so The Silent Force Tour DVD makes for a great chance to see early classics such as Candles and The Other Half (of me) performed.

Clearly the band have spared no expense to make their show one to rival that of band’s said to be the some of the greatest live performers of modern times. We see a torch light procession for Candles, huge blow up creeper things to represent the power of nature during Mother Earth and lead singer Sharon den Adel suspended above the stage in a cage for Caged. Some band’s will go out of stage and just play but not Within Temptation. This is not just music, this is a show.

But first and foremost in importance is the music. Within Temptation play without fault and Sharon den Adel never misses a single note. We even get to hear the vocals of guitarist Robert Westerholt on a couple of songs, giving fans who may have only heard The Silent Force or The Heart of Everything a chance to hear Within Temptation’s earlier ‘beauty and the beast’ style of vocal delivery. Song highlights are Deceiver of Fools, Angels, Caged, Mother Earth, Candles, The Other Half (of me), Jane Doe and It’s the Fear.

Extras wise there is three music videos for the singles that came from The Silent Force (Stand My Ground, Angels, Memories) and two shorter live appearances on the first of the two discs. The extra live shows only have songs that appear in the main show and one is the same songs as the three music videos but it’s the main concert that you should be buying this for. If you’re like me you won’t be bother by that fact after you’ve watched the main show.

On the second disc you’ll find backstage footage from various places; making of documentaries for The Silent Force album and the three music videos; some interviews; a photo gallery and a bloopers/credits section. It’s not stuff that you’d probably watch more than once but I’m giving this DVD it’s rating based on the main feature. All this extra stuff is just a bonus next to that. That in itself I feel is justification for the 100% score I’m giving this DVD. If you like this band, what are you waiting for? Go buy it.

(Review originally written for Heavy Metal Haven)


Movie · 1999 · Symphonic Metal
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I had owned the CD version of S&M years ago, so it is good to revisit this with the visuals thrown in. Contrary to what I remembered from the CD, there really isn’t too much toestepping between what Metallica plays and what the orchestra plays. Most of the songs sound about as smooth as the originals. In fact, the only songs that I’m still not convinced worked effectively were “Until It Sleeps”, “Wherever I May Roam”, “Sad But True”, and much of “Battery” (though I love the intro). Even “Enter Sandman” worked surprisingly well.

Most of the material in this concert comes from songs from the Black Album and later. I would have liked to see a bit more variety in their song selection as there are plenty of songs from their past that almost naturally lend themselves to orchestration. Even a tune off of Kill ‘Em All would have been an interesting attempt.

Just for fun, here are some songs I would have liked to see them attempt with the orchestra: “Fade To Black”, “Orion”, “Welcome Home (Sanitarium)”, “…And Justice For All”, and “The Unforgiven”.

Although not the first rock/metal band to perform with an orchestra, Metallica often gets credit for starting a trend for rock bands to collaborate with an orchestra. However, much of the credit for the success of S&M should be given to conductor Michael Kamen. He was the one who spearheaded the project by taking an interest in Metallica’s music and proposing that they further collaborate (he did some arranging in 1991 on “Nothing Else Matters”). His arrangements on the two previously unreleased songs, “No Leaf Clover” and “- Human”, give both songs a strong identity. It would have been interesting to hear an entire album or an EP with all new material, because the collaboration certainly had potential.

As a whole, I’d say this is a good Metallica release. The performance by all involved is good and it’s shot well. However, it would be a stretch to call this essential Metal(lica).

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