Paradise Lost
- Thread starter Night Prowler
- Start date
AncientMariner_Essex
Ancient Mariner
The longest winter is a cracking song, can't wait to pick this album up. Also gonna make sure I see them in London in November.
Been a fan of PL ever since I picked up gothic all those years back on release and I must say I've enjoyed all the albums they've done over the years despite the massive stylistic changes they've gone through. Even enjoyed Host for what it was. Their last few albums have really hit the mark though.
From faith divides us on wards each realise has been a 10 out of 10 for me and it's great to see them going back to a more heavier sound.
Been a fan of PL ever since I picked up gothic all those years back on release and I must say I've enjoyed all the albums they've done over the years despite the massive stylistic changes they've gone through. Even enjoyed Host for what it was. Their last few albums have really hit the mark though.
From faith divides us on wards each realise has been a 10 out of 10 for me and it's great to see them going back to a more heavier sound.
Black Wizard
Pleb Hunter
Look what happens when I move away from Yorkshire. :/
karljant
Ancient Mariner
Ok... favorite 5 tracks from each album (singles included) and a couple of thoughts of a PL die hard:
Lost Paradise (5/10): First effort as part of the late 80's british wave of Death Doom and so I recon its relevance. Nevertheless it wasn't until 93 I first listened to this record and it sounded like a real poor man's Gothic. On the other hand one could already spot PL's blueprint here and there.
Gothic (7,5/10): Now this is the record that made plain for all to see how influential and big these guys would be. The title track itself influenced zillions of bands and its quality is off the charts. On the other hand half of the album is a bit boring while Falling Forever and Dead Emotion are utter crap.
Shades Of God (9/10): The album that introduced me to the band back in 92. I was watching some metal show when Pity The Sadness came storming in and it was love at first hearing. The remainder of the record is also amazing and aged immensely well. Plus it features one of Dave McKean's best covers. Stellar.
Icon (9,5/10): More than its undeniable quality, this is the album where the band discovered their unique and exclusive sound. That's the great achievement Icon granted PL and would catapult the band to be one of the next big things in heavy music. And in truth all the songs are top notch (apart from two merely enjoyable tracks).
Draconian Times (9,75/10): While being a logical evolution of the path Icon paved, this album seems to somehow refine even more what seemed insurmountable. Apart from Elusive Cure and Yearn For Change (merely great songs) all the rest is amazing with the exception of Enchantment: I lack words to describe this song (remains my favorite track to this day).
One Second (10/10): I could not care less the band dropped some metallic elements and started featuring some electronics... This album is class and composition skill at an almost unparalleled level. Apart from the too much Depeche Mode like Mercy and This Cold Life and the somehow out of place Soul Courageous all the other songs (B sides included) are top tier in various hues. Remains as an all time favorite in my record collection.
Host (5.5/10): Where is Gregg? Did he left the band? Oh he's too busy drowning the whole thing with keys and samples and almost forgot to record any of his guitar leads. And you know: no Gregg's guitar = very little PL.
Believe In Nothing (7.25/10): BIN is a quandary itself. The guys seemed to re-hire Gregg for the guitar works and some songs are really great while coexisting with crappy songs such as the single Mouth, Divided and a handful more of them. This alone says a lot about the tough period the band went through.
Symbol Of Life (8.25/10): Enters Rhys Fulber and behold: Paradise Lost revamped. While keeping their Icon/DT/ One Second identity, this records shows a band reinvented in the new millennium, mixing their Goth Metal/ Rock with Rhys' unique skill when it comes to electronic elements. Apart from a couple of fillers SOL is fresh, inventive, daring and yet sounds like Paradise Lost. Plus that Dead Can Dance cover...
In Requiem (8/10): Following their self titled album the boys hopped once again in the metal genre they almost defined on their own. In Requiem sounds odd. Without featuring any weak song it seems to lack in long passages the exquisite dynamics and charisma that songs like The Enemy make the album kick from the get go. Nevertheless it was this record that made them leaders of the whole Doom/ Gothic scene again.
Faith Divides Us Death Unites Us (8.25/10): Here the guys went down the same road they built in the previous effort with a couple of adjustments: a lower tuning, heavier and darker compositions mixed with even more melodic passages. Once again a few stinkers hold the overall quality a tad bit and the repetition factor and an almost certain feeling of "great but not quite as it was" avoid this record to aim for an higher level.
Tragic Idol (8.25/10): Speaking of the "great but not quite as it was" feeling.... how can we get rid of it? Well just take Icon as an inspiration and build what a follow up would sound like almost 20 years after. And despite the repetition factor the compositions on Tragic Idol are so masterfully crafted that you can't avoid but to feast on the marvels of this record. Although it aged a bit bad its undisputed quality just granted the band another win.
The Plague Within (7.25/10): So why not push the time machine a bit more backwards and recover the Gothic album feeling? Well because a) it's no longer a novelty since you pulled that trick it in the last album and b) when you wrote that stuff you were young and spontaneous and still looking for a more consistent sound that would ultimately defined the band outside the Doom Death genre (that would happen with the release of Icon... another reason why Icon Vs2.0 works and Gothic Vs2.0 doesn't). Half of the record is absolute cliche, lacks coherency and sounds like the dudes are trying too hard. Plus Nick's growling sounds nowhere near good as it it did during their first 3 records. It's only when the band mixes old elements with their immense talent to build sharp hear friendly hooks the whole thing works (the best example being No Hope In Sight). The only time the band manages to pull a doom death absolute classic on this one (Terminal) Nicks lack-lusting growls hold it back. Meh.
Medusa (7.5/10): Although being more varied and better overall, Medusa its a product from the same molde of its predecessor and therefore (although to a lesser extent) suffers from the same handicaps. Some Doomy epic stuff here and there but nothing the band hasn't already done far better. I hope the next time the guys compose an album it's not with the making of Gothic part 4 in mind.
Lost Paradise (5/10): First effort as part of the late 80's british wave of Death Doom and so I recon its relevance. Nevertheless it wasn't until 93 I first listened to this record and it sounded like a real poor man's Gothic. On the other hand one could already spot PL's blueprint here and there.
- Paradise Lost (7.5/10)
- Rotting Misery (6.5/10)
- Deadly Inner Sense (6.5/10)
- Lost Paradise (5/10)
- Breeding Fear (5/10)
Gothic (7,5/10): Now this is the record that made plain for all to see how influential and big these guys would be. The title track itself influenced zillions of bands and its quality is off the charts. On the other hand half of the album is a bit boring while Falling Forever and Dead Emotion are utter crap.
- Gothic (10/10)
- Eternal (9/10)
- Shattered (8/10)
- Angel Tears (7.5/10)
- The Painless (7/10)
Shades Of God (9/10): The album that introduced me to the band back in 92. I was watching some metal show when Pity The Sadness came storming in and it was love at first hearing. The remainder of the record is also amazing and aged immensely well. Plus it features one of Dave McKean's best covers. Stellar.
- As I Die (9.5/10)
- Pity The Sadness (9.5/10)
- No Forgiveness (9.5/10)
- Rape Of Virtue (9/10)
- Daylight Torn, Your Hand In Mine, The Word Made Flesh (8.5/10)
Icon (9,5/10): More than its undeniable quality, this is the album where the band discovered their unique and exclusive sound. That's the great achievement Icon granted PL and would catapult the band to be one of the next big things in heavy music. And in truth all the songs are top notch (apart from two merely enjoyable tracks).
- Remembrance (10/10)
- Colossal Rains (10/10)
- Christendom (9.5/10)
- Dying Freedom (9/10)
- Sweetness, Embers Fire (9/10)
Draconian Times (9,75/10): While being a logical evolution of the path Icon paved, this album seems to somehow refine even more what seemed insurmountable. Apart from Elusive Cure and Yearn For Change (merely great songs) all the rest is amazing with the exception of Enchantment: I lack words to describe this song (remains my favorite track to this day).
- Enchantment (10/10)
- Fear (10/10)
- Jaded (10/10)
- Hallowed Land (9.5/10)
- The Last Time, Shadowkings, Hands Of Reason (9/10)
One Second (10/10): I could not care less the band dropped some metallic elements and started featuring some electronics... This album is class and composition skill at an almost unparalleled level. Apart from the too much Depeche Mode like Mercy and This Cold Life and the somehow out of place Soul Courageous all the other songs (B sides included) are top tier in various hues. Remains as an all time favorite in my record collection.
- The Sufferer (10/10)
- One Second (9.5/10)
- Say Just Words (9.5/10)
- I Despair (9.5/10)
- Sane, Lydia, Blood Of Another, Cruel One (9.5/10)
Host (5.5/10): Where is Gregg? Did he left the band? Oh he's too busy drowning the whole thing with keys and samples and almost forgot to record any of his guitar leads. And you know: no Gregg's guitar = very little PL.
- So Much Is Lost (8/10)
- In All Honesty (7.5/10)
- Languish (6.5/10)
- Deep (6/10)
- It's Too Late (5.5/10)
Believe In Nothing (7.25/10): BIN is a quandary itself. The guys seemed to re-hire Gregg for the guitar works and some songs are really great while coexisting with crappy songs such as the single Mouth, Divided and a handful more of them. This alone says a lot about the tough period the band went through.
- World Pretending (9.5/10)
- I Am Nothing (9/10)
- Sell It To The World (8.5/10)
- Look At Me Now (8.5/10)
- Illumination (8/10)
Symbol Of Life (8.25/10): Enters Rhys Fulber and behold: Paradise Lost revamped. While keeping their Icon/DT/ One Second identity, this records shows a band reinvented in the new millennium, mixing their Goth Metal/ Rock with Rhys' unique skill when it comes to electronic elements. Apart from a couple of fillers SOL is fresh, inventive, daring and yet sounds like Paradise Lost. Plus that Dead Can Dance cover...
- Channel For The Pain (9.5/10)
- Erased (9.5/10)
- No Celebration (9/10)
- Perfect Mask (8.5/10)
- Isolate (8.5/10)
- Let Me Drown (9.5/10)
- All You Leave Behind (9.5/10)
- Sanctimonious You (9/10)
- Don't Belong (8.5/10)
- Through The Silence, Laws Of Cause, Close Your Eyes (8.5/10)
In Requiem (8/10): Following their self titled album the boys hopped once again in the metal genre they almost defined on their own. In Requiem sounds odd. Without featuring any weak song it seems to lack in long passages the exquisite dynamics and charisma that songs like The Enemy make the album kick from the get go. Nevertheless it was this record that made them leaders of the whole Doom/ Gothic scene again.
- The Enemy (9.5/10)
- Requiem (8.5/10)
- Silent In Heart (8.5/10)
- Ash And Debris (8/10)
- Unreachable (8/10)
Faith Divides Us Death Unites Us (8.25/10): Here the guys went down the same road they built in the previous effort with a couple of adjustments: a lower tuning, heavier and darker compositions mixed with even more melodic passages. Once again a few stinkers hold the overall quality a tad bit and the repetition factor and an almost certain feeling of "great but not quite as it was" avoid this record to aim for an higher level.
- Faith Divides Us Death Unites Us (9/10)
- Last Regret (9/10)
- I Remain (8.5/10)
- Frailty (8.5/10)
- In Truth (8/10)
Tragic Idol (8.25/10): Speaking of the "great but not quite as it was" feeling.... how can we get rid of it? Well just take Icon as an inspiration and build what a follow up would sound like almost 20 years after. And despite the repetition factor the compositions on Tragic Idol are so masterfully crafted that you can't avoid but to feast on the marvels of this record. Although it aged a bit bad its undisputed quality just granted the band another win.
- Tragic Idol (9.5/10)
- Ending Through Changes (9.5/10)
- Crucify (9/10)
- Fear Of Impending Hell (8.5/10)
- Honesty In Death, Solitary One (8/10)
The Plague Within (7.25/10): So why not push the time machine a bit more backwards and recover the Gothic album feeling? Well because a) it's no longer a novelty since you pulled that trick it in the last album and b) when you wrote that stuff you were young and spontaneous and still looking for a more consistent sound that would ultimately defined the band outside the Doom Death genre (that would happen with the release of Icon... another reason why Icon Vs2.0 works and Gothic Vs2.0 doesn't). Half of the record is absolute cliche, lacks coherency and sounds like the dudes are trying too hard. Plus Nick's growling sounds nowhere near good as it it did during their first 3 records. It's only when the band mixes old elements with their immense talent to build sharp hear friendly hooks the whole thing works (the best example being No Hope In Sight). The only time the band manages to pull a doom death absolute classic on this one (Terminal) Nicks lack-lusting growls hold it back. Meh.
- No Hope In Sight (9/10)
- Terminal (8.5/10)
- Punishment Through Time (8/10)
- Beneath Broken Earth (8/10)
- An Eternity Of Lies (7.5/10)
Medusa (7.5/10): Although being more varied and better overall, Medusa its a product from the same molde of its predecessor and therefore (although to a lesser extent) suffers from the same handicaps. Some Doomy epic stuff here and there but nothing the band hasn't already done far better. I hope the next time the guys compose an album it's not with the making of Gothic part 4 in mind.
- The Longest Winter (9/10)
- Blood And Chaos (8.5/10)
- Fearless Sky (8/10)
- Shrines (8/10)
- No Passage For The Dead (7/10)
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PhantomOfTheOpera
Ancient Mariner
Nice that Paradise Lost has done great albums in the last 15 years. I thought that with One Second they had done it all and couple albums after that didn't just feel like the same band, they were more and more into Depeche Mode (which is great band for me) but the albums lacked something.
The old times and albums were great indeed (especially the run of albums from Gothic until One Second was nice) and after couple looser/softer albums it was really pleasant to find out that Paradise Lost released in 2005 proved the way for them to go back their own style.
Have to check the new album when it comes out and also have to remember to give more listens to Medusa, somehow that albums felt like little drop in quality compared to the previous few albums, I didn't quite get it when it was released and it just didn't click with me. I don't even remember much of the songs, but was it The Longest Winter that had some sort of feelings of Type O Negative going as it just sounded like that.
Overall, even if Im not the greatest PL fan and I don't listen to them always, sometimes when it's that certain moment and feeling I have to put some nice Paradise Lost. They've had some really great albums in the catalogue so far..will be interesting to find out about the new album and Im waiting to hear it.
The old times and albums were great indeed (especially the run of albums from Gothic until One Second was nice) and after couple looser/softer albums it was really pleasant to find out that Paradise Lost released in 2005 proved the way for them to go back their own style.
Have to check the new album when it comes out and also have to remember to give more listens to Medusa, somehow that albums felt like little drop in quality compared to the previous few albums, I didn't quite get it when it was released and it just didn't click with me. I don't even remember much of the songs, but was it The Longest Winter that had some sort of feelings of Type O Negative going as it just sounded like that.
Overall, even if Im not the greatest PL fan and I don't listen to them always, sometimes when it's that certain moment and feeling I have to put some nice Paradise Lost. They've had some really great albums in the catalogue so far..will be interesting to find out about the new album and Im waiting to hear it.
Cracking track.
It's solid.
Black Wizard
Pleb Hunter
Any heavy riffs?
Many heavy riffs has been had.
Another accessible one. Quite nice, but not as good as Fall From Grace.
I like the fact they've worked the white rose into their artwork, being from Yorkshire and all.
I like the fact they've worked the white rose into their artwork, being from Yorkshire and all.
Black Wizard
Pleb Hunter
Yorkshire Nationalism!
It's grim up North. Especially if you're into doom.
karljant
Ancient Mariner
Band's mascot?
karljant
Ancient Mariner
Paradise Lost - Obsidian:
Some months ago Doom Death veterans' frontman Nick Holmes announced that that Paradise Lost was writing new material for a follow up record to their sort of rerun through the bands' darker and heavier roots that resulted in both The Plague Within and Medusa. Bearing in mind that we're talking about one of the most skilled bands ever to thread this land when it comes to combine various musical influences it was assured that Obsidian would be somewhat different to the aforementioned releases. And no matter what condiments the new record would be cooked we would certainly get a tasty dish to say the minimum.
As Darker Thoughts starts spinning one immediately notice that there's something quite different going on: a desolate acoustic guitar stutters timidly along with a soft desolate vocal harmony while cellos and violins timidly reveal their presence. All of the sudden the entire band lands with overwhelming weight on that same string section clad platform, and Holmes' gentle voice quickly turns into the haunting growls he re-adopted on Paradise Lost's last studio ventures. Albeit being undeniably heavy and gloomy, Obsidian's opener is also one of the most melodic moments in the bands' latest compositions, as its dynamics brings to mind some tracks as dissimilar as An Eternity Of Lies and One Second's B' side Slave. Also a high note for the first among many captivating guitars solos that will cross our way. Fall From Grace was the advance video, a song that evokes the desolate melodies explored through In Requiem while strengthened with the grit of 1992's Shades Of God. By now a considerable number of fans are also already familiarized with the Goth Rock revival of Ghosts. There's a strong Icon feel to it in the lead melodies (Widow anyone?) exposing how bands like Christian Death and The Sisters of Mercy have always influenced Greg's leads. Steve's bass sounds extra crushing on this one. An excellent mix of quiet yet disturbingly anguished singing floating adrift melodies that could well be featured in their classic Draconian Times (or even 2005's self titled effort) introduces The Devil Embraced. And although Waltteri's toms quickly drag the entire song to the depths of a Gothic Doom tour de force filled with spine chilling growls the song never loses its absurdly acute sense of beauty, presenting us with yet another great guitar solo from the band's main composer.
Halfway Obsidian's track list, a vocal choir a la Sister Of Mercy's This Corrosion presents Forsaken, another Goth Rock clad tune yet built upon more metal prone undertones than Ghosts. A shout out to the absolutely gorgeous use of keyboards and to what I consider to be Greg's best solo on this album: a simple, rock and roll wandering that somehow sits perfectly upon the entire structure. Next is Serenity and (unlike what the name may suggest) it is a relentless heavy stomper that, besides Doom Death pace and growls brings something entirely new to Paradise Lost's already vast musical spectrum: the guitar work by both Aaron and Greg are based on harmonies that strongly resemble the mid 90's Swedish melodic Death Metal scene well known by albums like The Jester Race and The Mind's Eye. In all honesty Serenity wouldn't sound slightly dislocated in either. Ending Days dwells once again into those calm and hopeless acoustic guitar landscapes only to explode into a dramatic refrain that is cursed to return to the desolation of the verses. I can't avoid to have a strange sensation while listening to this tune: like if it was what a Believe In Nothing song would sound like if it was composed for Draconian Times. And a really good one. Hope Dies Young is another Goth Metal testimony that every Paradise Lost fan easily recognizes as the blueprint the band built for themselves during the mid 90's. As a closer we're presented with the ghastly Ravenghast and its sinister ambiance. By far the heaviest one from the lot this slow dirge is smartly pumped with multiple keyboard layers to amp its already suffocating horror like ambiance and surely achieves that objective while Holmes' growls lead us though the dark heart of this beast. After a double kick based near Death Metal interlude those very same keyboards that initiated Ravenghast are the last notes played in the record.
In sum the band definitely didn't settle for repeating the same recipe that served as base for the previous two albums. Obsidian mixes with expertise various skins and impersonations Paradise Lost's sound borrowed throughout the ages and delivers its share of memorable moments and highlights and no one can deny the band's mastery when it comes either to cradle you with melody or to crush you with slow megalithic riffs. Nevertheless there's an aftertaste of deja-vu that inevitably subsides and sometimes even a certain lack of spontaneous bliss that I get while listening to a fair amount of Obsidian's sections. Perhaps that's Holmes' overuse of growls in sections that asked for a less raspier approach or by some atavism regarding their later attempts while recreating the Gothic album ambiance. Or maybe is just because Paradise Lost's catalogue is made of so many excellent releases that every minor miss is magnified in its importance. However none of this invalidates my absolute recognition and praise of Obsidian as a worthy addition to the band's illustrious discography. (8.5/10)
Must Listen: Darker Thoughts, Ghosts, The Devil Embraced, Forsaken, Ending Days.
Some months ago Doom Death veterans' frontman Nick Holmes announced that that Paradise Lost was writing new material for a follow up record to their sort of rerun through the bands' darker and heavier roots that resulted in both The Plague Within and Medusa. Bearing in mind that we're talking about one of the most skilled bands ever to thread this land when it comes to combine various musical influences it was assured that Obsidian would be somewhat different to the aforementioned releases. And no matter what condiments the new record would be cooked we would certainly get a tasty dish to say the minimum.
As Darker Thoughts starts spinning one immediately notice that there's something quite different going on: a desolate acoustic guitar stutters timidly along with a soft desolate vocal harmony while cellos and violins timidly reveal their presence. All of the sudden the entire band lands with overwhelming weight on that same string section clad platform, and Holmes' gentle voice quickly turns into the haunting growls he re-adopted on Paradise Lost's last studio ventures. Albeit being undeniably heavy and gloomy, Obsidian's opener is also one of the most melodic moments in the bands' latest compositions, as its dynamics brings to mind some tracks as dissimilar as An Eternity Of Lies and One Second's B' side Slave. Also a high note for the first among many captivating guitars solos that will cross our way. Fall From Grace was the advance video, a song that evokes the desolate melodies explored through In Requiem while strengthened with the grit of 1992's Shades Of God. By now a considerable number of fans are also already familiarized with the Goth Rock revival of Ghosts. There's a strong Icon feel to it in the lead melodies (Widow anyone?) exposing how bands like Christian Death and The Sisters of Mercy have always influenced Greg's leads. Steve's bass sounds extra crushing on this one. An excellent mix of quiet yet disturbingly anguished singing floating adrift melodies that could well be featured in their classic Draconian Times (or even 2005's self titled effort) introduces The Devil Embraced. And although Waltteri's toms quickly drag the entire song to the depths of a Gothic Doom tour de force filled with spine chilling growls the song never loses its absurdly acute sense of beauty, presenting us with yet another great guitar solo from the band's main composer.
Halfway Obsidian's track list, a vocal choir a la Sister Of Mercy's This Corrosion presents Forsaken, another Goth Rock clad tune yet built upon more metal prone undertones than Ghosts. A shout out to the absolutely gorgeous use of keyboards and to what I consider to be Greg's best solo on this album: a simple, rock and roll wandering that somehow sits perfectly upon the entire structure. Next is Serenity and (unlike what the name may suggest) it is a relentless heavy stomper that, besides Doom Death pace and growls brings something entirely new to Paradise Lost's already vast musical spectrum: the guitar work by both Aaron and Greg are based on harmonies that strongly resemble the mid 90's Swedish melodic Death Metal scene well known by albums like The Jester Race and The Mind's Eye. In all honesty Serenity wouldn't sound slightly dislocated in either. Ending Days dwells once again into those calm and hopeless acoustic guitar landscapes only to explode into a dramatic refrain that is cursed to return to the desolation of the verses. I can't avoid to have a strange sensation while listening to this tune: like if it was what a Believe In Nothing song would sound like if it was composed for Draconian Times. And a really good one. Hope Dies Young is another Goth Metal testimony that every Paradise Lost fan easily recognizes as the blueprint the band built for themselves during the mid 90's. As a closer we're presented with the ghastly Ravenghast and its sinister ambiance. By far the heaviest one from the lot this slow dirge is smartly pumped with multiple keyboard layers to amp its already suffocating horror like ambiance and surely achieves that objective while Holmes' growls lead us though the dark heart of this beast. After a double kick based near Death Metal interlude those very same keyboards that initiated Ravenghast are the last notes played in the record.
In sum the band definitely didn't settle for repeating the same recipe that served as base for the previous two albums. Obsidian mixes with expertise various skins and impersonations Paradise Lost's sound borrowed throughout the ages and delivers its share of memorable moments and highlights and no one can deny the band's mastery when it comes either to cradle you with melody or to crush you with slow megalithic riffs. Nevertheless there's an aftertaste of deja-vu that inevitably subsides and sometimes even a certain lack of spontaneous bliss that I get while listening to a fair amount of Obsidian's sections. Perhaps that's Holmes' overuse of growls in sections that asked for a less raspier approach or by some atavism regarding their later attempts while recreating the Gothic album ambiance. Or maybe is just because Paradise Lost's catalogue is made of so many excellent releases that every minor miss is magnified in its importance. However none of this invalidates my absolute recognition and praise of Obsidian as a worthy addition to the band's illustrious discography. (8.5/10)
Must Listen: Darker Thoughts, Ghosts, The Devil Embraced, Forsaken, Ending Days.
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TL;DRParadise Lost - Obsidian:
Some months ago Doom Death veterans' frontman Nick Holmes announced that that Paradise Lost was writing new material for a follow up record to their sort of rerun through the bands' darker and heavier roots that resulted in both The Plague Within and Medusa. Bearing in mind that we're talking about one of the most skilled bands ever to thread this land when it comes to combine various musical influences it was assured that Obsidian would be somewhat different to the aforementioned releases. And no matter what condiments the new record would be cooked we would certainly get a tasty dish to say the minimum.
As Darker Thoughts starts spinning one immediately notice that there's something quite different going on: a desolate acoustic guitar stutters timidly along with a soft desolate vocal harmony while cellos and violins timidly reveal their presence. All of the sudden the entire band lands with overwhelming weight on that same string section clad platform, and Holmes' gentle voice quickly turns into the haunting growls he re-adopted on Paradise Lost's last studio ventures. Albeit being undeniably heavy and gloomy, Obsidian's opener is also one of the most melodic moments in the bands' latest compositions, as its dynamics brings to mind some tracks as dissimilar as An Eternity Of Lies and One Second's B' side Slave. Also a high note for the first among many captivating guitars solos that will cross our way. Fall From Grace was the advance video, a song that evokes the desolate melodies explored through In Requiem while strengthened with the grit of 1992's Shades Of God. By now a considerable number of fans are also already familiarized with the Goth Rock revival of Ghosts. There's a strong Icon feel to it in the lead melodies (Widow anyone?) exposing how bands like Christian Death and The Sisters of Mercy have always influenced Greg's leads. Steve's bass sounds extra crushing on this one. An excellent mix of quiet yet disturbingly anguished singing floating adrift melodies that could well be featured in their classic Draconian Times (or even 2005's self titled effort) introduces The Devil Embraced. And although Waltteri's toms quickly drag the entire song to the depths of a Gothic Doom tour de force filled with spine chilling growls the song never loses its absurdly acute sense of beauty, presenting us with yet another great guitar solo from the band's main composer.
Halfway Obsidian's track list, a vocal choir a la Sister Of Mercy's This Corrosion presents Forsaken, another Goth Rock clad tune yet built upon more metal prone undertones than Ghosts. A shout out to the absolutely gorgeous use of keyboards and to what I consider to be Greg's best solo on this album: a simple, rock and roll wandering that somehow sits perfectly upon the entire structure. Next is Serenity and (unlike what the name may suggest) it is a relentless heavy stomper that, besides Doom Death pace and growls brings something entirely new to Paradise Lost's already vast musical spectrum: the guitar work by both Aaron and Greg are based on harmonies that strongly resemble the mid 90's Swedish melodic Death Metal scene well known by albums like The Jester Race and The Mind's Eye. In all honesty Serenity wouldn't sound slightly dislocated in either. Ending Days dwells once again into those calm and hopeless acoustic guitar landscapes only to explode into a dramatic refrain that is cursed to return to the desolation of the verses. I can't avoid to have a strange sensation while listening to this tune: like if it was what a Believe In Nothing song would sound like if it was composed for Draconian Times. And a really good one. Hope Dies Young is another Goth Metal testimony that every Paradise Lost fan easily recognizes as the blueprint the band built for themselves during the mid 90's. As a closer we're presented with the ghastly Ravenghast and its sinister ambiance. By far the heaviest one from the lot this slow dirge is smartly pumped with multiple keyboard layers to amp its already suffocating horror like ambiance and surely achieves that objective while Holmes' growls lead us though the dark heart of this beast. After a double kick based near Death Metal interlude those very same keyboards that initiated Ravenghast are the last notes played in the record.
In sum the band definitely didn't settle for repeating the same recipe that served as base for the previous two albums. Obsidian mixes with expertise various skins and impersonations Paradise Lost's sound borrowed throughout the ages and delivers its share of memorable moments and highlights and no one can deny the band's mastery when it comes either to cradle you with melody or to crush you with slow megalithic riffs. Nevertheless there's an aftertaste of deja-vu that inevitably subsides and sometimes even a certain lack of spontaneous bliss that I get while listening to a fair amount of Obsidian's sections. Perhaps that's Holmes' overuse of growls in sections that asked for a less raspier approach or by some atavism regarding their later attempts while recreating the Gothic album ambiance. Or maybe is just because Paradise Lost's catalogue is made of so many excellent releases that every minor miss is magnified in its importance. However none of this invalidates my absolute recognition and praise of Obsidian as a worthy addition to the band's illustrious discography. (8.25/10)
Must Listen: Darker Thoughts, Ghosts, The Devil Embraced, Forsaken, Ending Days.
My review:
I haven't heard half their albums, so I'm not the biggest fan. I like the last two, when they brought back the growls. This one brings back some mid-era stuff when they played mellow stuff and combines it with the atmosphere of last two albums. Works wonders. Every song from the regular edition is awesome. Out of nowhere, it's the album of the year so far.