Paradise Lost have had a long and more varied career than most. From their earliest death metal days of ‘lost paradise’, through the dense atmosphere of ‘gothic’ and all the way to their commercial peak in the form of ‘draconian times’ the band carved out a niche in the world of metal that few, if any, bands have matched. The band then took a controversial step with the two bravest albums of their career – the excellent ‘one second’ and the massively (and unfairly) overlooked ‘host’, both of which showcased a band unafraid to take risks and develop in a manner that suited them. The band were crucified in an unforgivable betrayal by press and fans alike but, if the experience had a positive side, it is that ever since ‘believe in nothing’ signalled a partial return to metallic pastures, Paradise Lost have been producing increasingly brilliant albums, the best of which is undeniably the remarkable ‘faith divides us, death unites us’ – a record that coupled the band’s doom-laden heaviness with the emotional maturity displayed on the much derided ‘one second’ and ‘host’ . Since then, Paradise Lost have toured widely and even performed the landmark ‘Draconian Times’ in its entirety (a performance of which was released on DVD at the tail end of last year) to celebrate its anniversary, and now the band are back with ‘Tragic idol’, a record for which fans have high expectations indeed thanks to the tantalising glimpses we’ve been afforded thus far.
The first thing you notice about ‘Tragic Idol’, before you even hear a note, is the immense artwork crafted by Parisian designer Valnoir and which stands apart from anything else the band have ever released. A beautiful, baroque piece of artwork it can be best appreciated via the vinyl issue (available on stand-alone black vinyl or in the fan box as a gold-swirl edition – more on this later), but however you look at it, it feels like a statement of intent from the band, a promise of an album even grander than previous efforts have suggested, and in an achievement that cannot be understated, Paradise Lost have done exactly that.
Things open on a familiar, suitably downcast note. ‘Solitary one’ is pure Paradise lost, from the doom laden riff to Greg Mackintosh’s searing, oh-so-familiar lead-work, it is a fine opening, that captures the mood of the album perfectly with gentle keyboard parts offsetting the brutal riffs on display. The true star of ‘solitary one’, however, is Nick Holmes who has turned in a vocal performance of power and authority, once again reminding the listener that he is one of metal’s finest vocalists. Second track ‘Crucify’ is a blistering delight that builds upon the desolate atmosphere of ‘solitary one’ and throws some brilliant solos in amongst the splenetic riffs and furious vocals. Quite what has lit this fire under Paradise lost is unknown; perhaps it was the rapturous response of fans to the ‘Draconian Times’ shows, or maybe it was Greg’s stint away from the band crafting the mighty Vallenfyre album; but whatever it is everything here feels bigger, bolder and more powerful than even ‘faith…’, even while the sound is still recognisably that of Paradise Lost. It is on the third track, the brilliantly titled ‘fear of impending hell’ where the band really start to push the boundaries. A far off guitar wails in the darkness before a massive riff surges forth from the speakers. So far so Paradise Lost, but then suddenly the band switch tone for a verse that employs acoustic guitars to craft a sense of light and shade that sees the heavier passages sounding truly monstrous in the face of such melody. With a truly rousing chorus, despite the grim subject matter, it is destined to become a live favourite when the band head out on tour later this month. Better yet is the scything riff of ‘honesty in death’ (see video below) which, with its chugging riff and brutal vocals, could easily fit right into the heart of ‘Draconian Times’.
Having drawn the listener in with both melody and power, Paradise Lost then unleash a sonic curveball in the form of ‘theories from another world’ which is quite simply the heaviest track they have ever written. A massive, seething riff dominates the song whilst oppressive bass, swathes of keyboard and a double kick drum assault roam the ramparts. It is a heart-stopping, adrenalin charged beast of a song and it perfectly encapsulates the power that Paradise Lost are capable of bringing to bear into an utterly brilliant five minutes. ‘In this we dwell’ opens with a riff that sounds bizarrely like a corroded version of Van Halen’s ‘ain’t talkin’ ‘bout ‘love’ before slamming into more traditional doom pastures albeit with a sense of vitality that catches you off-guard. ‘To the darkness’ is equally immense – a furious riff-fest that suddenly implodes for a pitch black mid-section that crushes everything in its path with its sheer oppressive weight. With solo’s scarring the surface and Nick Holmes’s vocals never less than awe-inspiring, this is the Paradise Lost that we know and love but with a furious sense of purpose and self-discipline that marks out each and every song as something special. This is equally true of the title track which takes the powerful rhythmic punch of ‘say just words’ and combines it with the wall of guitar sound of ‘hallowed land’ for a track that is both memorable and heavy – a trick few bands pull off with this much success. Another highlight of the album is the oppressive ‘worth fighting for’ which has, at its core, a brilliant percussive performance that is almost tribal in its intensity, coupled with an oily guitar riff and multi-tracked vocals all of which combine to create an air of impending doom that carries over into the treacle-thick guitar riffs of closing track ‘the glorious end’ which rounds out the album with an epic sense of fading grace and decaying grandeur.
Many years ago Paradise Lost emerged sounding unlike anyone else out there. Here and now the number of bands who’ll lay claim to having been influenced by Paradise Lost must stretch into the hundreds… and still no one sounds quite like them and certainly no one has surpassed their many achievements. Yet Paradise Lost have never rested on their laurels. It doesn’t matter whether you loved or loathed their electronic excursions, the most important thing to take from that experience was that the band have never stood still and allowed progress to overtake them. Always ahead of the game and always intelligently written and beautifully performed , Paradise Lost albums are a richly rewarding experience that can be appreciated upon multiple levels for years after the initial purchase – that’s true of ‘gothic’, of ‘draconian times’, of ‘one second’ and it’s undoubtedly something that will be true of ‘tragic idol’. There’s a warmth to even the most devastating Paradise Lost riff that draws you in, a melodic bent to Nick Holmes’ voice, no matter how gruff, that weaves a web around you and a soaring quality to Greg Mackintosh’s ethereal leads that holds you entranced long after the song, or even the album, has ended. That all this is dispatched with a mordant wit merely adds to the air of gloom that surrounds the band and there is an authenticity and beauty in Paradise Lost that no band, no matter how closely they develop the same sound, have ever managed to match. ‘Tragic idol’ is an album that sits high in the enviable back catalogue Paradise lost have amassed. Here you will find tragedy, beauty, decay and ruin. You will be beaten down by the oppressive might of ‘worth fighting for’ and stunned by the blistering ferocity of ‘theories from another world’, enchanted by the eerie ‘solitary one’ and ensnared by the closing ‘the glorious end’; but after all is said and done you will want to play this album again and again and again until you’ve absorbed it all, it’s that good. Although it is never likely to surpass ‘draconian times’ in the hearts and minds of long-time fans, ‘tragic idol’ is a fine album indeed and an essential purchase.
Special Edition Notes
This being Paradise Lost and the lovely folks at Century Media there are a number of lovely versions of ‘tragic idol’ from which to choose. For those who just want the basic album there is a standard CD or 12” vinyl version both of which offer simply the ten tracks reviewed here. A beautifully designed double CD edition offers up the 10 track standard CD as well as a bonus CD featuring the bonus track ‘ending through changes’ and a Spear of destiny cover entitled ‘never take me alive’. Fans will be delighted with the lavish attention to detail in this box set but the real treasure is the super limited ‘fan box’ which offers up the double CD box set, the 12” vinyl on gold marbled vinyl, an additional gold marbled 7” vinyl with the bonus tracks, a slip mat for your record deck, a heavy weight A1 poster and an army cap. At £45 it’s fantastic value for the contents and random boxes will also contain hand written lyrics to the album – something that hard-core fans will undoubtedly prize above all else. Whichever version you decide to opt for, however, it’s worth doing so from the band’s own merchandise store as initial copies will be signed by the band.
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