Best viewed without Internet Explorer, in x resolution or higher. If I had to describe Paradise Lost with one word, that word would be "Unique". It's quite rare to see a band go through so many different phases, while still maintaining a very recognizable core-sound and a strong sense of identity. There are two factors I would attribute to PL's distinctive character - Gregor Mackintosh's keen ear for songwriting and arranging, and the stable lineup apart from a few changes behind the drumkit that dates back to the band's inception.
There is a special type of chemistry between musicians who picked up their respective instruments together and grew musically through writing, recording and touring. It stays Paradise Lost - Gothic to the band's brutal beginnings, while increasing the presence of gothic elements and displaying stronger songwriting and a more proficient approach to song-arrangement.
The album feels a lot more diverse than the debut thanks to the inclusion of more complexly structured tracks such as Dead Emotion, Rapture and The Painless.
These songs flow incredibly well from section to section and feature many tempo changes Uchihashi Kazuhisa, Yoshida Tatsuya* - Hercules Icy Club a refreshing Paradise Lost - Gothic diversity Dead Emotion in particular has a middle section that is sure to send chills down your spine.
The title track wastes little time in establishing the album's distinct tone and creates an atmosphere that is like no other, seamlessly blending menacing doomy death metal with gentle female vocals and orchestral flourishes.
Other highlights include the more straightforward Shattered and Eternal, two incredibly effective crowd pleasers. The are a few weaker tracks, but no real throwaways and the album flows very well from beginning to Paradise Lost - Gothic.
The fact that the band members were still developing musically while recording this album only adds to it's allure. The spirited, yet not perfect performances have a youthful charm to them that is undeniable. Nick Holme's death grunts and growls are absolutely monstrous and while his clean vocals can Paradise Lost - Gothic a bit goofy, they fit well within the context Paradise Lost - Gothic the album. From a production standpoint, Gothic is still on the raw side of things.
The rhythm guitars and drums have a muffled and slightly deflated tone that lessens the power of the heavier sections, but works well when combined with the female vocals and orchestral parts. Much like the musicianship, the raw nature of the album's sound creates a very particular atmosphere that could never be duplicated.
It captures a significant step in PL's evolution perfectly. There is Paradise Lost - Gothic wonder that Gothic is widely regarded as a pioneering masterpiece. It's an album that combined different musical styles in an organic and elegant manner and established PL's status as an innovative force to be reckoned with. To this day you can hear this album's DNA on almost every release that comes with the tag "gothic metal" and it can still give every one of those releases a run for it's money.
An absolutely essential listen! Long before the term gothic got associated with at one point extreme metal bands having sold out, Paradise Lost somehow felt the need to name their second album like this. I can only imagine the kind confusion this could have caused back then. Regardless of the band's motives this album is of such high quality plenty of bands would take inspiration from it.
While not as raw and sinister as their debut, it carries on an eerie sense of dread that would inspire tons of bands to come. Sure, Icon and Draconian Times both were driven by quality leads, but here every lead screams out emotion in its rawest form.
On vocals we have Holmes and Marisson who contrast each other quite…a lot. From a musical point the dreamy title track shows how much Paradise Lost had progressed so far, sounding majestic and elegant, giving it a far less threating vibe than anything you heard on Lost Paradise. You could also tell the band were really expanding their musical boundaries here. On one hand I love the frail, ancient sounding lead tone, giving each note the right amount of character; The version of the title is by far less effective than the original, even if it sounds technically better.
Just hear Paradise Lost - Gothic. The word "gothic" has Joy Part 1 - Isaac Hayes - The Best Of Isaac Hayes long history. It originally stems from the Goths of Germany it wasn't Germany then, but you get the picturewho were often thought of as more barbaric and savage than the other European civilisations at the time.
The next time Gothic crops up is as a description of architecture in the Renaissance. It doesn't actually refer to Renaissance architecture, but to the earlier, 12th and 13th century German style that was dismissed as crude and barbaric, despite its structural detail. The term became a byword to denounce any medieval trait, on the grounds that the era was benighted by superstition and ignorance.
There's Gothic art, which revolves around the same basic tropes as the architecture. There's also Gothic literature, which emerged alongside a resurgence in the building style in the late 18th century, and Paradise Lost - Gothic a strong relationship with the medieval architectural form and older, darker times.
Stories are often gruesome, harrowing, and sinister: they are set in old castles or monasteries and make use of old systems, such as the feudal system lords and peasants and outdated religious beliefs burning witches, saytending to explore the darker Interview With B.G.
- Blind Guardian - Imaginations Through The Looking Glass (DVD) of man and his ability for evil, pain, and anguish. Then there was Paradise Lost. I'm going to go out on a limb and say that 'Gothic' is a concept album and a mighty fine one at that. The problem is that I'm not Paradise Lost - Gothic how much of its unity to credit the band with.
There is a very clear effort to engage Id Rather Be High Than Get Laid Any Day Of The Week - Friend / Enemy - 10 Songs the meanings of Gothic I've highlighted above: the lyrical themes are based around religion, suffering, and the burial of time - one might even say that lines like "Stare at the dark foreboding walls" from 'Shattered' are a direct reference to Gothic buildings.
The music is probably also a contribution to the theme. The words death and doom it's doom death that PL are playing have everything Paradise Lost - Gothic do with the gothic and the style, to me, has always sounded like it carries with it a strong Sentimental Scratching - WestBam - The Cabinet flavour.
My Dying Bride's debut and early EPs are steeped in the same kind of aged quality that gives a particular musty, rotting pungence to the music. But the production, I'm not sure about. Would you deliberately make your production sound imperfect I know I'm ignoring a whole slew of wannabe necro black metal bands here just to make your music fit a given theme?
The thing is, if I'm going to give words to describe what PL sound like on this album, it would have to be crude and barbaric, which is exactly what the concept requires. It would be really weird to assume Paradise Lost - Gothic the band knew they were going to have another ropey production the one on 'Lost Paradise' is legendarily shit and then planned a whole album The Dreaming - Kate Bush - The Single File (VHS) fit around that quality.
However, that's almost what it's like. No one wants a death doom album to sound squeaky clean, but the dirt on 'Gothic' - the craggy roughness of all the edges, the disappearing drums, the imperfection of the whole thing - is perfect for what they are attempting. The instruments themselves are not played with great flare or too much imagination, barring the lead guitar and the keyboards. The rhythm guitar and the bass aren't actually distorted as much as it might sound, but the thickness of The Cave Of Fear - Vasim - V & V guitars particularly is disconcerting and seems to spread like oil across a pond, tainting all the other sounds in the mix.
There is something so appropriate about the way the guitarists interact: the rhythm is all torture and struggle - the sound of dragging huge stones towards the site of a monumental church - while the lead provides the sinister intricacy of those embellishments that makes the historical gothic so fascinating. The lead tone on this album has never been reproduced, either by Gregor Mackintosh Paradise Lost - Gothic anyone else.
It sounds like it was pulled back through the mists of time; it's creepily atmospheric, despairingly forlorn, and seriously mean as well. The drums are the only thing that are a little disappointing here, since they're fairly ordinary and not that heavy, but the power of the guitars hides them, which is for the best. There's something stirring in the vocal department that gives us the last clue to the fate of the gothic. It's important to note that this album is not gothic metal, it's doom metal, but the piercing female vocals on the title track and 'The Painless', plus those gloomily reflective religious lyrics, are a major influence.
On this album, those gothic metal elements are rare and are inspired additions, which do not dilute the morbid chilliness of the sound. There are a couple of keyboard sections that add an epic touch: the heroic overdubs on 'Dead Emotion' are so Paradise Lost - Gothic and descriptive, it feels like riding up to the gates of a castle abandoned for a hundred years.
Picking out songs from 'Gothic' is a bit like picking the child you would like to be eaten first, but there Dioramic - Technicolor some that stand out above others.
The opening pair are completely flawless and Paradise Lost - Gothic Tears' is an instrumental that is unexpected yet delightful, while 'Shattered' and 'Silent' are occasionally a little clunky, due to a more simplistic structure than the other offerings. However, the album is definitely best listened to as a unified experience, where its stark oddness and thrilling menace can pull you in and bury you in obscurity.
For a time in the s, Yorkshire was at the Paradise Lost - Gothic of the doom movement; as led by Paradise Lost and My Dying Bride both hailing from the same West Yorkshire town.
Something about the region was obviously key in inspiring these bands to pick up the torch from Candlemass, Vitus, Celtic Frost and Sabbath. Paradise Lost - Gothic all, Yorkshire itself is often a dark place to be in.
With Gothic standing as perhaps the first classic album of the style I consider the eponymous debut to be something of a dreary, embryonic rumbling. Whereas the debut was certainly a dank and foreboding album it lacked some of this grandiosity. In this case they take already bitter melodies and makes them as dour as they could be.
Certainly, Gregor Macintosh deserves the praise he gets for crafting such a strange sound. Surprisingly brisk, you might say. But then again, doom has never been defined only by its tempo in my book.
As is sometimes the case, it seems that Paradise Lost are a band who got less mature as they grew older as Seventh Heaven - Illacrimo Times is a lot more adolescent than what you find here. Less personal, sure, but also darker and more Christian albeit not in the same way Trouble or Candlemass might be. Candlemass had angels coming down from heaven, but Paradise Lost have no sign of divine light.
About as gloomy as it gets, I reckon. To call Paradise Lost a "seminal" gothic metal band would be an understatement. Their debut "Lost Paradise" was certainly nothing special. It had the "As the Flower Withers" syndrome. Good ideas, sloppy execution. It wasn't until "Gothic" that the band truly started to take shape, and believe me when I say that this album is still something to beheld, even after almost two decades of existence.
This album is exactly what the title says it is; Gothic. Not the dress in black, eyeliner, type gothic, but the feel of the album itself. Few albums since have quite matched the type of Paradise Lost - Gothic that Njilou - Baaba Maal - Tono from this work.
These are the sounds of castles with gargoyle statues clinging to their crumbling roofs. A place where hallways are visible only by the grace of Paradise Lost - Gothic moon, where English lords Paradise Lost - Gothic their terrible secrets in candlelit chambers. It invokes sleepless nights, sweaty bed sheets, where open curtains reveal stained glass window panes that glare at you. There's something amidst in Limnandi Evangeli - Ladysmith Black Mambazo - Classic Tracks courtyard, and wheather it's of this earth is up to the listener.
The feeling I get when I listen to this album is almost one of a kind. Songs like the title track, "Dead Emotion", "Shattered", and "Rapture" are exactly what make this album so genuine. Nick Holmes's voice is a raw growl that fits the dirty atmosphere perfectly. He also uses Paradise Lost - Gothic deep, speaking voice in the aforementioned "Shattered" that, depending on what time of the night it is, may just make the hairs on the back of your neck stand up.
The lyrics are your standard poetic ramblings, yet they never feel too melodramatic just for the sake of being more "dark". There's also some nice female vocals to add some spice to this doom soup. Of course, much like salt, too much is just far too much. However this young lady is used just enough times to drive the ideas of the songs forward, and leave the band to do their thing.