Paradise Lost
Draconian Times (Relativity/Music For Nations)
by Paul Lee
Europe and numerous other parts of the globe have discovered their power and majesty, and it’s high time the US got to know more about Paradise Lost. They’re not a new band in the heavy, doom-laden realms of metal, Draconian Times is Paradise Lost’s fifth or so release and their mightiest. It took time to cross the Atlantic (Draconian Times landed with a massive thud in Europe back in June of 1995), but now the US has a chance to indulge in Paradise Lost’s special brand of darkness.
Master of Puppets-era Metallica, though Paradise Lost lean more towards a doom/ Gothic style with a little thrashing injected into their melodic, rumbling veins (the faster paced “Once Solemn” might be the exception). Their thunder is balanced by the passionate guitar melodies that pervade their songs. The opener, “Enchantment,” has a classically-flavored piano intro that melds into the slow roar of the rest of the song. Throughout most of Draconian Times, Paradise Lost temper the balance between a heavy sludge approach (à la Sabbath), neo-classical influences, and classic metal with lyrical guitar work. Not content with taking a merely darkly twisted and angry approach, they add musical complexity that rivals the heyday of Pink Floyd, minus the psychedelics. Even amongst all the gloom, a song like “The Last Time” has an almost catchy chorus that might have their original fans up in arms. Their skill alone, never mind their songwriting ability, separates them from so many of the metal bands in both the U.S. and Europe.
Shades of God (they were formerly on Metal Blade), a pounding effort that was like listening to death metal while stoned on pot, valium, and thorazine. Their last opus, Icon, was a better release, but with a chance to put twice as much recording time into Draconian Times, these Brits prove that they are the top lava in the metal flow. Singer Nick Holmes’ voice has taken on more diversity as he alternately roars and sings, where once he was confined to a near death metal-type growl.
Lyrically, there are no real surprises for a band as dark as Paradise Lost. Songs about loss, failure, and despair are all here. Even Charles Manson pops up in “Forever Failure,” talking about how he “doesn’t know what sorry is,” and how he shouldn’t have been born. But Paradise Lost take a literary approach that doesn’t feel redundant. The themes and lyrical content tend to be more abstract without being contrived and overly esoteric. Without a doubt, the lyrics suit the music perfectly. If the accessibility of an album can be a problem, this is Draconian Times‘ minor drawback. Where Shades and Icon were a bit more unrelenting, Draconian Times has a slight commercial lean in comparison.
There’s been plenty in the music media about the turning away from metal and how its power is flagging. That may be so in the US, but with a talented band like Paradise Lost, all is not lost. They’ve transcended the traditional confines of metal and opened up new possibilities. With a group like Paradise Lost keeping the banner waving high, metal still has a future as it continues to metamorphize and progress.
