Following on from the solid first Leviathan album in 2021, Therion returned with part two (soon to be joined by a third), and although still decent for the band following the Beloved Antichrist disaster, it's a step down in quality in terms of songwriting, disappointingly. The fun and catchy feel from Leviathan I has been replaced by a more AOR feel that will please fans of symphonic metal generally without giving listeners specific highs to latch onto. It goes without saying that this is well-performed, particularly by the operatic vocalists and the classical instrumentation by the various guests, yet the songwriting just isn't there to the same extent as on the first part, with nothing remotely as memorable as the Marko Hietala-starring Tuonela, making this a forgettable experience ultimately.

Which is a shame because there's a lot that's pleasant, indeed beautiful about Leviathan II. There are plenty of songs that have lovely moments such as the choirs generally, particularly on the likes of Codex Gigas and Alchemy of the Soul. Aeon of Maat starts well enough with a compelling riff and some interwoven operatic vocals, male and female duelling with the metal elements effectively, yet the track feels like a glorified intro piece as it cuts off almost abruptly before Litany of the Fallen does something entirely different, feeling like a more playful, progressive throwback a la Gothic Kabbalah. Lunar Coloured Fields truly pushes the vocal gymnastics courtesy of Lori Lewis' undoubted talents, and Marijin Min Nar uses a slight Eastern vibe with male choirs interacting well with a female soprano.

Yet generally these moments don't add up to compelling songs overall, and neither is there as much variety between songs as before. Certain pieces downright feel written to show off the talents of the artists rather than to be cohesive songs, and at the album's nadir Lucifuge Rofocale is downright out of place with its gothic rock plus galloping riffs plus harsh vocals - something of a mess that needed to be planned out better. Conversely, the more rocking first half of Midnight Star stands out for being different in a good way, as does Rosalía Sairem's vocals and Cătălina Popa's flute on Cavern Cold as Ice. Although these Leviathan albums seem to have been created for the purpose of Therion challenging themselves to create music that reflects past fan favourites, cynics may well declare that it has led to paler imitations rather than pushing the band's sound forward in a positive way... A disappointing addition to an increasingly patchy catalogue as of late; let's hope Leviathan III can truly right the good ship Therion's course.