Originally posted on Victim of the Fury:
Here I was in Sao Paulo yesterday doing the work that most romanticize, some demonize, and the reality of which few would recognize. I was in a taxi returning from a failed quest to find cheddar cheese when I looked out the window and what did I see? Brilliant black and white posters shouting “Therion – Outubro 26.”
An immediate aside: Roughly one month ago, I happened upon a new music option of which I had previously been completely unaware. Variously called “romantic death metal,” “melodic doom,” and “symphonic black metal,” the sub-genre mixes crunching heavy metal bass, guitar, and drums with operatic vocals, pseudo-classical piano, violin, cello, and even, at times, oboe. It differentiates itself from mainstream death metal - for which I have little-to-no fondness - partly by replacing the shouted, gruff, satanic vocal style with angelic, choral, and often female beautifulness. The violin/cello interludes – especially those coupled with a background of grinding industrial rhythms – also add to its attraction. Via some internet sampling, I had been dabbling of late with - and treadmill walking to - the sounds of three bands in particular: Haggard, My Dying Bride, and Therion(!).
So, in what seemed to me to be an incredible twist of fate, I was amazed to learn that Swedish rockers Therion were not only in Brazil, but were to perform in Sao Paulo that very evening. Of course, being a risk averse old geezer, thoughts of actually seeking out and attending the concert were quickly overwhelmed by laziness - the posters didn’t actually say where the concert would be; how was I to find it? - wussiness - maybe it would be far away in a bad neighborhood and I’d be assaulted, or worse - and insecurity - I’m a pathetic old fart, young Brazilian rockers would laugh at me. I returned to my solitary hotel room for a late afternoon of room service and old movies (The Desert Fox: The Story of Rommel ).