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4.6 out of 5 stars14
4.6 out of 5 stars
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on 9 March 2005
The godfathers of Gothic Metal take a step towards their roots with this heavier offering. Back are the heavy, doom laden guitars and gruffer sounding vocals. Add to this re-founded heaviness the classy sounding keyboards and harmonies and what we have here is possibly the best Paradise Lost album yet! I've been a fan of the band from their Death Metal roots and through their mellower albums, and I can honestly say that they have NEVER disapointed. They are probably the most underated British band this decade and I sincerely hope they continue to release such quality material for many years to come!
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on 7 March 2005
Paradise Lost's self titled tenth studio album "Paradise Lost", with some of the heaviest work the band has ever done, it is an adrenaline charged.
Recorded with duo Rhys Fulber and Greg Reely, and with drummer Jeff Singer taking place of Lee Morris, the album is more dynamic as ever.
Heather Thompson of Tapping the Vein contributed Backing Vocals on first single "Forever After" and Album track "Over the Madness".
Leah Randi performed the choir-esque Backing Vocals on "Forever After".
Since "One Second" their sound had some missing thing. This album "Paradise Lost" is very consistent like "Don't Belong" track proves with strong proximity to "Draconian Times".
With lyrics more directly to manage a matter as one should, it's just close your eyes and feel it.
When I heard "Close Your Eyes" I felt that if "I Believe in Nothing" album was made by now, certainly would-be a better album.
Nick Holmes voice is more sweet-sounding and melodics. Suddenly, conducts his tones to a shrill but articulated notes forming a chorus level that don't let the sound seems monotonous. Probably the most quality vocal works ever.
Keyboars are more subtles and almost forgotten but not absents.
Aaron Aedy guitars are better and rife with syncopated sounds making more powerfull bases for the melodies.
Even the always perfect Greg Mackintosh seems more talented in his performances. At least in a technical effects.
To attend by ear in a wild at heart spirit and this album will be long in leaving.
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I love Paradise Lost, always have, happy to follow them through the changes they needed to go through to survive. Granted, I find their live shows incredibly boring, but thats why the dark of my music room was invented. For on disc, they are simply superb.
Their latest CD is no exception. Most of the tracks fit nicely into the melodic industrial goth metal style they've settled into over the last few years with the keyboards high in the mix, providing an orchestral feel to their performance. No wonder they shared a bill with Nightwish before the Tarja debacle.
Now there are punters out there who felt betrayed when they moved from metal to goth metal, more who felt betrayed at the sheen of "Draconian Times" and more who wept at the electronic shimmer of "Host", but what we have here is a band always willing to challenge themselves and their listeners, creating the whole genre of goth-metal along the way.
So, here they are on album number 10, and my only complaint is how unchallenging it is. It's very similar in tone and feel to "Symbol of Life", something that could be put down to the renewed interest in the band when "Symbol.." came out. But it's been three years and I was expecting more.
Don't get me wrong, this is a cracking release, with at least 3 tracks that I will listen to for a long time - "Grey", "Forever After" and "All You Leave Behind" - with several more that instantly grabbed me. One thing that did please me was the return of some monster guitar parts, especially on "Sun Fading", which helps the album towards the desire of Nick Holmes to 'get a real heavy sound whilst maintaining as much clarity and melody as possible'.
This is a top quality release with a lot to reccomend it - they've only get themselves to blame for raising the bar so high since they first emerged from darkest Yorkshire, all those years ago.
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on 9 November 2005
I'd been a Paradise Lost fan for about a year or so and thought Icon and Draconian Times were masterpieces. With this new album I think they've surpassed themselves. Every track is simply excellent. Particularly Sun Fading and Accept the Pain are brilliant and exiting songs. Close Your Eyes and Spirit are also very good with crunching guitar riffs. This is already one of my favourite albums and I can recommend it to any Rock/Metal fan.
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on 20 June 2012
This was hailed as the 'proper' return to their metal roots after the commercial sheen of Symbol of Life. That can be seen as true to an extent but PL have wandered far from anything they have done since their debut. This is similar to Symbol but also with more bite, chanelling the bile of Draconian Times and the pure metal of Icon while not being anywhere as good as any. But it is also a contemporary PL record. It sounds different to anything prior, just contains more heaviness and a slightly more throaty vocal that hasn't been heard since Icon. But, as with most PL albums (with the possible exceptions of Icon and Draconian Times) it is no masterpiece simply because it is louder.

'Don't Belong' is a solid opener, something they're getting better at doing. It is not really a patch on the exciting 'Isolate' from Symbol but is more downbeat and underplayed. But it's very good, just a little more melancholy. 'Close Your Eyes' is a bit of a filler track and is unfortunately placed as track 2. It's good but not really memorable enough to even include. 'Grey' and 'Red Shift' are both near perfect single-type tracks. Many may dislike the commercial nature of songs like these but they're hardly Jusin Bieber and they are usually the catchiest. 'Forever After' is much the same but to me is not as good as it feels slightly less powerful, although it has a nice bit of piano and a pacey chorus. 'Sun Fading' is ok but slightly drab in places.

'Laws of Cause' I wanted to like. There's nothing wrong with it, it's perfectly balanced, more upbeat than the rest and quite catchy. But it always leaves me feeling there should be more to it. 'All You Leave Behind' is better, with a nice chorus and a good bit of PL doom. And 'Accept the Pain' is a great little almost-single. Not perfect but perfectly passable and worthy of future listens. 'Shine' is also great but in a more sombre way. It's thoughtful and slower and with walls of sound. 'Spirit' is also a nice little track that grows on you. And the closing track is the usual funereally morbid dirge lament that they do so well. And if you're in that kind of mood (and I'm sure you will be as you enjoy PL music) it is a fine ending - just not perfect.

Another very good, but not classic album then. Which is no bad thing. They have made consistently good music since their second release and do not seem to be changing their formula to date. This is a PL album. It may sound tonally different to say Host, Icon, Gothic, or One Second but it consists of the same songwriting structures and sensibilities. And it is good. Very good.
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on 13 November 2005
The British metal masters are back on top form after some dreadul albums and this is probably their best of all time. At After 1995's Draconian Times they have never been as convincing......until now. Their creativity has improved in this album with some excellent solos most notably near the end of 'Accept The Pain' and in 'Sun Fading'. The guitar work is just awesome. There is not one track one this album that I can say is bad and it is definitely my favourite album of the year so far. If you're unsure about buying this because of recent efforts then you're a fool cos this is bloody excellent!!!
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on 10 September 2012
What we have here is, to be blunt; Paradise Lost's only truly boring record. Many hated the post Draconian Times electronics, and subsequent mainstream bating, but taken for what they were; some qualified success was had on that run. However, this eponymous release seems caught between embracing the gothic metal crunch of yore and the electronic pop structure, much courted from 99 onwards, and it's a rather ineffectual compromise. Heavy riffs, though gilded with experience, are forced to fit into the "here's the anthemic bit" easy listening song structures stopping the hum along quality from the last record, without adding power. Though not terrible, maybe it's even "good", but honestly by track three I keep forgetting there's record on; seriously.
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on 16 March 2005
I'm sitting here listening to Paradise Lost's tenth album, with a glass of red wine, a perfect combination.
It's all I've listened to recently, and I'm extremely impressed. I'd rather not compare this album to the band's previous offerings, however, I'd say it's a mix of Draconian Times and Symbol if Life. These were my two favourite albums by PL, until I heard this wonderful collection of songs.
"Paradise Lost" has an air of celebration about it, which is understandable, it's the band's tenth album and they've been together for a full seventeen years.
The songs on this album are very inspired I feel; that is, self-inspired. Songs like "Grey", "Forever After" and "Accept the Pain" are very sophisticated and dark, even cold, particularly the latter of the three. It'd be very difficult to pick a favourite here, but if I was forced at gunpoint I'd say either "Redshift" with it's beautiful gothic atmosphere and wonderful vocals from Nick Holmes, or "Laws of Cause" with it's transfixing acoustic verses and excellent chorus, I love the vocals here. Opener "Don't Belong" could well be suited to conclude the album, an epic way to commence an album certainly. I've a very soft spot for "All you leave behind". I feel this is the album's answer to Symbol of Life's "Self Obsessed". The song is short, sharp, agressive and relatively obnoxious, which I really like in Paradise Lost, they are truly England's most indulgent band, offering the finest metal, and purely for their own listening pleasure. "Sun Fading" is wonderdul with a regimented, almost Fear Factory-type verse riff with an overlying lead, which hypnotizes. This is typical of Gregor Makintosh, the first gothic metal guitarist. "Close your eyes" is one of my favourite songs on the album, it's metalesque, cold heaviness is very memorable. I tend to think of "Shine" and "Spirit" as one long song in two parts, however I doubt very much the band intended this. The former is more atmospheric, with a wonderful piano line to indroduce, followed by a very despairing song, with excellent bass work. "Spirit" is a little heavier, with a grinding, speedy riff and an excellent chorus. Closer "Over the Madness" presents a new definition for the term "epic". The song is slow, extremely dark and heavy, has one of the most incredible chorus' I've ever heard, and a magestic melodic bridge leading to what I consider to be one of metals most amazing solos. Slow, miserable and beautiful, it's the album's perfect conclusion.
Paradise Lost are noticeably wiser with progressive releases, and certainly unpredictable. I believe "Paradise Lost" to be their finest work to date. Vocals from Nick Holmes are brilliant, ranging from fragile singing to agressive yet sombre yelling. Gregor Makintosh' leads are more abuntant than on recent albums, with possibly the most impressive guitar tone I've ever heard. Aaron's riffs are also the heaviest I've heard from PL in many years and as already mentioned on "Shine" the bass work by Stephen Edmondson is advanced and ominous.
My favourite songs on here are "Laws of Cause", "Reshift", "Close your Eyes" and "Forever After", I feel they are very sophisticated and dark. Sheer class I must say.
I recommend this album to anyone with musical appreciation, but not to the clinically depressed!
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on 5 March 2006
Paradise Lost have always pushed the boundaries with their music, from the early doom metal of Gothic to the Depeche Mode-esque Host, they have been consistantly brilliant. Paradise Lost is by far the finest thing they have ever released, not filler, no duff tracks, just pure goth metal. Yes it is a long way from the early stuff, but any band that doesnt evolve their style over time is doing something wrong.
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on 2 March 2015
Excellent
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