Welcome to day six of my 2020 ‘Album of the Year Top 30 countdown’.
Just a quick reminder that numbers 30 down to 16 are really not in any particular order; they all deserve their place in the list and I found the exercise of trying to order them very difficult and a largely redundant exercise. All you need to know is that if they’re in the top 30, they are excellent. Simple.
You can check out the other picks so far in this year’s series at the end of this post alongside the entire lists from previous years.
Enjoy!
Number 25
Paradise Lost
Obsidian
Nuclear Blast
Score Of Much Metal: 93%
A deserved spot in this year’s list for one of the genuine stalwarts of the UK metal scene, Paradise Lost. The Gothic, doom merchants have tried many paths over their extensive career, but have seen a real resurgence of late, led by a string of impressive albums. On ‘Obsidian’, they have built on this recent success but have also dipped into their past to create arguably their best record since the mid-nineties.
‘Obsidian’, to my ears, is a great blend of the heaviness of their early death metal days, combined with a more grandiose, Gothic element, seen in their mid-era and beyond. Vocalist Nick Holmes positively revels in the fact that he can bark out some menacing growls whilst also opening the taps to his powerful, emotional voice to offer something more nuanced and melodic. Behind him, the band never misses a beat, providing such a deep and rich soundtrack, both aggressive and refined, supported by a great production. It just feels like a really accomplished record all round.
The end result is that I simply couldn’t ignore ‘Obsidian’ when compiling this end-of-year list. To do so would have been a big error in my opinion, an opinion that hasn’t wavered since I wrote my review.
What I wrote at the time:
“…being presented with a rich and varied opening song from the quintet of Holmes and Mackinstosh alongside guitarist Aaron Aedy, bassist Stephen Edmondson and relatively new drummer Waltteri Väyrynen, should be something long-term fans should be able to take within their stride. And, to be honest, after the initial, temporary, mild discombobulation, so have I.
… after a couple of listens where I clearly had cotton wool for ears and as such wasn’t listening carefully enough, early feelings of ‘it’s ok’ have grown to a point where I’m fully revelling in listening to an album that shows demonstrably that the UK doom and gloom stalwarts are at the very top of their game.
What else can one really say except ‘well played Paradise Lost, well played indeed’, whilst doffing one’s cap in their direction. I have enjoyed the heavier material that Paradise Lost have been plundering over the last few years, but when blended with those rich Gothic overtones, and sense of morose, dark drama, this is the band at their best. And ‘Obsidian’ is undoubtedly the product of a special band at the peak of their morose powers.”
Upon hearing the opening strains of ‘Darker Thoughts’, the first song on ‘Obsidian’, I will admit to checking out the information on my laptop as I wasn’t convinced that this was Paradise Lost initially. The gentle, serene acoustic guitar notes from Gregor Mackintosh, the soft, introspective clean vocals from Nick Holmes that didn’t immediately sound like him, and the steadily-increasing amount of orchestration around these two entities mainly in the form of sorrowful and lamenting strings; it just felt…different. And different is exactly the way to describe this entire song. Ultimately, it still sounds unequivocally Paradise Lost, but it is a song that has to be one of the most varied, multi-faceted, and accomplished of the band’s illustrious career to date.
Mind you, if we take a step back for a moment and consider the entire history of this band, then perhaps none of us should be surprised when Paradise Lost attempt to try something a little different. Setting out as an underground extreme metal band with death metal overtones, they then build on the Gothic elements of their sound, increasing the sophistication with ‘Shades Of God’ (my personal favourite), before taking a turn for the more mainstream, a journey begun with ‘Icon’ continuing apace with the album that started it all for me, ‘Draconian Times’. Then came my least enjoyable period where the hair was cut and the Yorkshiremen, originally from Halifax, decided to dabble with Gothic rock and more electronic-heavy music. Over the past decade or so however, Paradise Lost have got steadily heavier again, with ‘Faith Divides Us, Death Unites Us’ becoming a personal favourite along the way. The gruff vocals from Holmes have even returned of late.
So, being presented with a rich and varied opening song from the quintet of Holmes and Mackinstosh alongside guitarist Aaron Aedy, bassist Stephen Edmondson and relatively new drummer Waltteri Väyrynen, should be something long-term fans should be able to take within their stride. And, to be honest, after the initial, temporary, mild discombobulation, so have I. And, after a couple of listens where I clearly had cotton wool for ears and as such wasn’t listening carefully enough, early feelings of ‘it’s ok’ have grown to a point where I’m fully revelling in listening to an album that shows demonstrably that the UK doom and gloom stalwarts are at the very top of their game.
Back to that opening salvo, ‘Darker Thoughts’ and the intro is truly a thing of ethereal beauty; the guitars are crisp, clear and carry a poignancy that’s almost oppressive. Nick Holmes’ delivery is almost brittle, like the singing of a tired and forlorn human, simply putting one foot in front of the other, refusing to give up. The orchestration that initially acts as a subtle backdrop steadily becomes more pronounced, lending the composition an urgency and sense of drama as it reaches the inevitable next step: heaviness. The riffs that explode are meaty and weighty, as is the rumbling rhythm section. And in steps Holmes’ gravelly, venomous gruff vocals, pronounced orchestration and then those classic Mackintosh solemn, pleading leads over a chorus that gets stronger with each passing listen. There’s a bass and drum section that’s really nice, before Holmes reverts to the vocal approach so memorable from the ‘Draconian Times’ days, that rich, mellifluous croon that’s instantly recognisable. Within it’s sub-six-minute length, there’s also room for a gorgeous lead solo from Mackintosh, as well as an outro that’s led by the bass of Edmondson, but seen to a quiet conclusion by those orchestrated strings. It’s a rich, elegant and majestic way to begin and, one hopes, not a false dawn for the rest of album number sixteen.
The now-familiar lead guitar sound of Mackintosh ushers in the follow-up, ‘Fall From Grace’ and drives it forward, featuring frequently throughout. It reminds me a little more of the ‘Icon’ era in that it is a monstrous song, full of chunky riffs, that plod and lurch along with a crushing solemnity that can only come from the minds of Paradise Lost. Again, the vocals flit between clean croon and gruff spite. And when he sings ‘We’re All Alone’ in the melodic chorus, you really feel it. But doom and gloom rarely sounds this sweet.
‘Ghosts’ begins with an up-tempo pulse, led by the drums and the bass guitar. It creates a distinctly 80s Goth flavour, but this shorter, faster track soon returns to familiar territory, with the stop-start churning riffs that emerge at points being a definite highlight, alongside a memorable chorus, and the deliciously unsettling way that Holmes is able to chant the name ‘Jesus Christ’.
‘Obsidian’ is clearly much more heavily influenced by Gothic trappings, particularly those from the 80s and the intro to ‘The Devil Embraced’ draws from this well of inspiration too. It’s also utterly stunning. There’s the sound of an organ and light guitar playing which are both replaced by some piano notes that sit atop some incredibly spine-tingling bass notes that shake the very foundations; simple and effective. The slow, ponderous riff that then joins the party continues the heavy theme, making me grin wickedly every time I hear it. It’s a dark but dramatic opening, setting the tone for one of my favourite tracks on the album. The chorus is equal parts beautiful, mournful and aggressive in its intent. Holmes’ clean vocals add to the already strong melodies that run through the song, making the whole thing resonate even more powerfully. I never tire of those elegant, sombre lead lines of Mackintosh; they are synonymous with the band and yet more emerge here. Like the opener, it is an ambitious piece, but it delivers in spades, with plenty of shifts in dynamics and the atmosphere which it conveys, eloquently evoking everything from mid-grey to the blackest of black.
If it’s drama you’re after, then the first thirty seconds of ‘Forsaken’, with it’s choral beginning, atmospheric synths, lingering heavy guitar notes and overall dark majesty will find immediate favour. The chugging riffs are an utter delight but it is the clandestine atmosphere and lashings of theatrics that wins the day for me.
Initially, I feared that the mid-latter stages of ‘Obsidian’ might suffer a little and the quality may dip slightly. But with the gift of time, the likes of ‘Serenity’ with its more upbeat central riff, the explosive chorus that hits from nowhere within a generally more introspective, bass-heavy ‘Ending Days’, and the intriguing vocal embellishments during the chorus of ‘Hope Dies Young’, I can honestly say that there’s an incredible consistency at play on ‘Obsidian’.
On an album like this, it should come as no surprise that the final song is every bit as bold and engaging as its opening counterpart. Entitled ‘Ravenghast’, it begins more like a black metal song given the synths and the undeniably evil and dramatic atmospheres. But from there, Holmes growls over an initial riff that is slow, deliberate and full of doom-laden drama. It ratchets up the heaviness whilst retaining that cloying and suffocating dark atmosphere throughout. The riffs churn, Väyrynen offers some of his most flamboyant work, including a brief foray into double-pedal territory and the behemoth of a composition twists and turns uncomfortably to a fulfilling and satisfying conclusion, the final notes left to a haunting, echoey piano.
What else can one really say except ‘well played Paradise Lost, well played indeed’, whilst doffing one’s cap in their direction. I have enjoyed the heavier material that Paradise Lost have been plundering over the last few years, but when blended with those rich Gothic overtones, and sense of morose, dark drama, this is the band at their best. And ‘Obsidian’ is undoubtedly the product of a special band at the peak of their morose powers.
From the very first depraved and hauntingly ominous notes of ‘The Rising Horde’, there is no escaping the fact that ‘Abandon All Faith’ is a sinister and evil affair, even for the world of extreme metal. It is a trait that continues throughout the album, and so, if you’re looking for something altogether more upbeat and less extreme, I suggest you search elsewhere.
Before continuing, allow me to take a step back, pause for breath and provide a little bit of much needed context to this record.
Strigoi are, according to Romanian mythology, troubled spirits apparently risen from the grave. And it is also the apt name given to the latest endeavour by Paradise Lost’s left-handed axe-wielder Gregor Mackintosh. Vallenfyre was a much more personal and cathartic endeavour, providing Gregor with the vehicle to confront and deal with the grief associated with the death of his father in 2009. Created almost immediately after the cessation of Vallenfyre, it feels like Strigoi has been created to scratch a very different itch indeed.
Those familiar with Paradise Lost and Vallenfyre, will be aware of their death metal roots and the fact that Gregor Mackintosh has always had a love for underground extreme metal in general. So it comes as no surprise to reveal that the twelve tracks that make up ‘Abandon All Faith’ create some of the most downright nasty, filthy and uncompromising music I’ve heard this year, perhaps even longer than that if truth be told.
Strigoi is essentially a duo that comprises Mackintosh on guitar and vocals, with Chris Casket (ex-Extreme Noise Terror and Vallenfyre) on bass. According to the press release, Mackintosh enlisted the help of Paradise Lost colleague, Waltteri Väyrynen with the drums in the studio, but he is not envisaged to be a full-time member of Strigoi. Regardless, it is difficult to say anything other than the pairing of Mackintosh with Casket is a good one and with ‘Abandon All Faith’ they make a rather wonderfully disgusting noise together.
The DNA of Strigoi is a death metal core, not dissimilar in approach to the greats of the Swedish underground whose chosen modus operandi is gurgling, rumbling, dirty and down-tuned, where the production is deliberately organic, allowing the music to appear as dirty and unsettling as possible. And also heavy; my goodness is this a heavy record. There are also inevitable nods to early Paradise Lost within the sound, as well as the faintest hint of a melody here or there.
‘Phantoms’ is the perfect opening track, full of frenetic, fast-paced drumming, a bass that is low enough to converse with the Strigoi before they arise from the grave and some savage riffs that carry a sense of malevolence but also a touch of otherworldly groove. The lead guitar breaks are like the tortured screams of the dead whilst those lead lines that sit atop the bruising cacophony are sorrowful and haunting. And overlaying the music, you have the guttural growls of Mackintosh, which fit the soundtrack nicely, going toe-to-toe with the instruments and adding some caustic spite and bile to proceedings.
The likes of ‘Nocturnal Vermin’ and ‘Throne of Disgrace’ are sub-two-minute affairs that deviate between sludgy, churning groove and all-out pace and intensity, but with a slightly out-of-control and devil-may-care delivery.
My personal favourite track currently has to be the utterly masterful bludgeon of ‘Seven Crowns’. It is another pacey composition but it injects plenty of groove in the process thanks to some simple but effective riffs. The lead solos are vibrant and almost cacophonous but it is the ‘chorus’ where I’m most smitten. There’s a guitar note that is so heavy it gives me chills but alongside it, there’s just a hint of melody, created by the slower riffs and the elegant guitar work of Mackintosh.
What I also like about this album is the way in which a couple of longer, more ‘epic’ tracks have been interwoven into a tapestry where three-minute tracks are by far and away the norm. It allows Casket and Mackintosh to explore their chosen sound more deeply and, with ‘Carved Into The Skin’, and the title track create a more doom-laden soundscape, where those Paradise Lost-isms emerge a little more from the gloom. I mean, no-one quite makes a guitar sound like Gregor Mackintosh. In the case of the title track, the doom influence is evident, but it’s more akin to a post-apocalyptic nightmare if I’m honest.
I could dissect the record ever further but I think it is perfectly fair to summarise the entire affair as incredibly consistent in terms of the quality on offer, as well as expertly paced and laid out; for a death metal record of this type, I find myself incredibly engaged throughout. All of these two guys’ experience has come to the fore here, to assemble a record that has a clear purpose, but which carries with it enough variety to entertain at every turn.
But that guitar tone. I mean, for that alone, this album must be a clear winner. Summoned from the pits of hell itself, the guitar tone and the accompanying riffs make ‘Abandon All Faith’ a beautifully evil and depraved affair from unsettling beginning to its putrid end. Marvellous!
The Score of Much Metal: 91%
If you’ve enjoyed this review, check out my others from 2019:
It has been four years since death metal ‘supergroup’ Bloodbath last butchered our ears with a slab of dirty and depraved extreme metal. ‘Grand Morbid Funeral’ was released in 2014 to mixed reviews but I have always had a real soft spot for Bloodbath, regardless of the clientele involved or the musical direction that the band have taken.
The love affair started with the debut, although I must admit I initially only listened because of the involvement of key members of my beloved Katatonia. But once I listened to the debut, ‘Resurrection Through Carnage’ way back in 2002, I classed myself as a fan. This fan status has remained because, as far as I’m concerned, Bloodbath have always produced high quality gory death metal and latest full-length, ‘The Arrow Of Satan Is Drawn’, is no different.
The current line-up consists of Katatonia duo Jonas Renkse (bass) and Anders Nystrom (guitar) alongside Opeth’s Martin Axenrot (drums), Paradise Lost’s Nick Holmes (vocals) and new addition Joakim Karlsson of Craft on guitar. And it is this new addition that seems to have had quite a big impact on the band if the music on ‘The Arrow Of Satan Is Drawn’ is anything to go by. For whilst the output here is undeniably death metal of the Scandinavian persuasion, with parallels to the likes of Dismember and early Entombed, this record brings a hefty hint of black metal to the overall sound.
This shift in the Bloodbath sound is noticeable right from the off, as ‘Fleischmann’ rips the speakers apart with the sound of buzzsaw guitar riffs, wailing feedback and dark, ominous atmosphere. Nick Holmes sounds as possessed as ever, spitting and growling his diatribes with venomous intent. The tones of the lead guitars when they emerge are cold but carry a certain eerily melody with them to counterpoint the filthy death metal beneath, culminating in a cracking first track.
‘Bloodicide’ carries more of the typical Bloodbath death grunt and plenty of satisfying groove, led by the chunky riffing of Nystrom in particular. The drumming of Axenrot is more flamboyant here, indulging in some great tom fills along the way, whilst necks are snapped at the 1:51 mark with the entrance of one of the grooviest riffs on the album, which give way to an expansive, wailing solo. As the song advances, the black metal hints re-emerge via some frosty guitar work and the pace is temporarily quickened, but this is devastating brutal and filthy death metal of the highest order. When you add into the mix guest appearances from Carcass’ Jeff Walker, Karl Willets of Bolt Thrower/Memoriam fame and John Walker of Cancer, it is hardly surprising that this is easily one of my favourite tracks on this record.
I can’t help but think of ‘Wayward Samaritan’ as more of an extreme death ‘n’ roll number thanks to the catchy opening riff which appears at points throughout the fast-paced composition. It is a real grower actually and well worthy of a place on this record, especially when topped off by an inspired slowing of the pace at the death to emphasise the central larger-than-life riff. And ‘Chainsaw Lullaby’ reinforces the death metal credentials with a classic homage to the likes of Grave or Dismember, complete with graphic and violent lyrics of the ‘cut him, rip him, chop him’ variety, alongside the sounds of agonised screams for good measure.
Not content to repeat themselves, Bloodbath mix things up nicely on ‘The Arrow of Satan Is Drawn’. As such, ‘Levitator’ sees the quintet exploring more of a claustrophobic and exhausting death/doom approach. I’m reminded of Morbid Angel’s ‘Where The Slime Live’ thanks to the lurching, grinding buzzsaw riffs and the effects at play on Holmes’ vocals, which make him sound like he’s gargling bitumen.
Speaking of death/doom, both ‘March of the Crucifiers’ and ‘Morbid Antichrist’ feature elements of this within them. The latter is doused in cinematic, theatrical grandeur thanks to the injection od choir vocals and evil-sounding spoken-word embellishments, not to mention more wailing leads, icy riffs and frantic drumming. The former contains some classic pinched harmonics, for which I have a real weak spot. That said, the central riff, accented by near blastbeats at times is a behemoth and worthy of the entrance fee alone.
Featuring the brilliantly sinister lyric, ‘Sinfully, I lust for my death’, ‘Deader’ has to be another highlight amongst many on this record, especially the echoes of Dissection within some of the intense, blackened and frosty riffing and subtle melodic intentions. The swirling leads and sense of malevolent cloying atmosphere are the icing on this maggot-infested cake.
‘Warhead Ritual’ has to be one of the catchiest cuts on the album, whilst ‘Only The Dead Survive’ has some of the most pronounced black metal elements woven into it thanks to some spine-tingling lead guitar lines that could freeze you at one hundred paces.
The more I have listened to ‘The Arrow of Satan Is Drawn’, the more I am certain that this almost certainly has to be Bloodbath’s finest hour. It simply has everything that you might want from a brutal death metal record – the riffs, the atmosphere, the groove, the melodic hints, the variety, the intensity and the note perfect execution from a group of musicians whose ability and commitment to the music that they love is unquestionable. Yes, I’m certain, ‘The Arrow Of Satan Is Drawn’ is Bloodbath at their extreme, evil and gory best.
The Score of Much Metal: 9.25
If you’ve enjoyed this review, you can check out my others from 2018 and from previous years right here:
I have been a fan of Paradise Lost for over 20 years since, as a teenager, I took a chance on ‘Draconian Times’. It was love at first listen and it served as the soundtrack to some very important moments in my life, most notably, my GCSE art exam. I got an excellent grade, but how could I not with this album inspiring me throughout?
Naturally, I delved into the back catalogue at my earliest opportunity and was blown away by ‘Icon’ and ‘Shades Of God’. In fact, the latter remains my all-time favourite Paradise Lost album. I was less enamoured with ‘Lost Paradise’ and ‘Gothic’ initially, although both were littered with moments of excellence. Today, I listen to the latter a lot more and the former almost never to be honest.
At the time, I hated ‘One Second’ and ‘Host’ with their strong electropop/Goth overtones and apparent abandonment of their heavier roots. I still don’t enjoy them as much as many others, although my hatred has certainly softened to grudging respect, with an admission that there are a few songs that are rather enjoyable.
Nevertheless, it took me until the release of ‘Faith Divides Us, Death Unites Us’ in 2009, some four albums and an entire decade later, to rediscover the magic. I had casually listened to the intervening albums, pleased to note that there was a gradual reintroduction of heavier material, but it was with ‘Faith…’ that I was truly knocked for six. Successive albums have seen a further increase in heaviness, but have also maintained a consistent level of quality along the way. So much so that ‘Tragic Idol’ (2012) and ‘The Plague Within’ (2015) rank as two of my favourites by the gloomy Yorkshiremen.
‘That’s all very well’, I hear you cry, ‘but what about this new album?’
It’s a fair question, but the preceding history lesson is designed to add context to the review because in order to understand my views on ‘Medusa’, you need to be familiar with the back story. So, with that sorted, I can now turn my attention to Paradise Lost’s 15th album and their first on their new label, Nuclear Blast.
It doesn’t take genius to fathom, almost immediately, that the veterans have gone for yet another slightly different approach with this record. And this approach effectively turns back the clock a quarter of a century as the quintet delve back into their murky past to dredge up their dark and gloomy doom roots, with a hint of death for good measure, principally via the vocals of Nick Holmes. On this record, he lets his gravelly and sinister gruff tones take the lead and, aside for a few notable exceptions, keeps his more melodious clean tones under lock and key.
The parallels to their very early material is striking. For one, the whole record sounds dirty, raw and organic, the perfect foil for the unashamed doom metal output that ‘Medusa’ provides. The music here is ugly and oppressive, claustrophobic and unsettling. Initially, given by predisposition against the band’s very early material and my general apathy to doom in general, I didn’t warm to ‘Medusa’. I found the generally plodding pace and slow-moving material quite dull and unedifying, even though it was markedly less naïve-sounding than those first couple of records.
But yet, after a few listens, there is a subtle, warm beauty that starts to become apparent, like the occasional stubborn ray of sunshine that refuses to be entirely expunged by a sky thick with dark clouds. And those self-same foreboding clouds slowly begin to offer a rugged beauty themselves at times. The slow, lumbering heavy riffs, the low bass rumble from Steve Edmondson and the simple, uncomplicated bruising beat of Wallteri Väyrynen’s drums; they all come together to create something strangely compelling, almost hypnotic at times.
Take the gargantuan opening piece, ‘Fearless Sky’ as the perfect example of all that I have just said. The first half is all-out doom worship, slowly and inexorably crushing everything it its path. The riffs of Gregor Mackintosh and Aaron Aedy churn and Holmes growls spitefully as the song slithers along at its own stubborn pace. But around the half-way mark, things change. A subtle melody is introduced, those recognisable guitar tones and distinctive leads of Mackintosh’s guitar break through the gloom and Holmes reverts to a clean approach. Suddenly, what was oppressive, becomes far more epic and, for me, enjoyable. There’s even space for a segment where the spirit of the late 90s briefly emerges, albeit cloaked in something far heavier.
Frustratingly, I don’t find the follow-up, ‘Gods of Ancient’ quite so positive and indeed I’d still go as far as to say that it’s a fairly unremarkable doom metal track. ‘From The Gallows’ on the other hand, delivers some great drumming and more of those archetypal mournful leads that Mackintosh pens so well. The guitar solo is a brief, twisted affair and overall, its shorter life also aids it, preventing it from outstaying its welcome.
‘The Longest Winter’ perks me right up, as it is an absolute belter. The effect-laden guitar work that acts as the opening centrepiece is marvellous, as is the slow groove that accompanies it. And as much as I like Holme’s gruff delivery, I’m a sucker for his clean croons and here he obliges, even soaring over the more melodious chorus to stunning effect. If there’s such a thing as a catchy track on ‘Medusa’, this is it, right here.
The title track has a lot to live up to then, but it manages it. Rather deftly actually. Again, the mournful doom metal overtones are present, as are Holmes’ clean vocals – it really does make all the difference for me. The added injection of melody that his voice provides is, for me, the difference between a good song and an excellent one. Not always, but on the whole. I really like the brief quiet interlude which introduces a simple piano embellishment, which seems to dial up the misery to another level. Again, Mackintosh delights with his expressive leads whilst the rhythm section does its best to bulldoze its way through everything.
There’s then another disappointing dip, as ‘No Passage For The Dead’ fails to make the same impact as its couple of predecessors. It’s a perfectly adequate song, but doesn’t get my juices flowing. ‘Blood and Chaos’ on the other hand catches my attention as it ups the pace a little, entering the fray in an uncharacteristic up-tempo manner. The pace continues throughout, acting as light relief to the more sedate meanderings elsewhere.
Pleasingly, ‘Medusa’ is brought to a close in positive fashion, courtesy of ‘Until The Grave’. The sombre and menacing tone is accented by a magnificent chorus that is beautiful but conveys forlorn and desperate emotions. There’s a wailing and gnashing, swirling lead solo and even a hint of synths at one point if I’m not mistaken.
‘Medusa’ has really pulled me back and forth, toying with my thoughts and feelings on a frequent basis. As such, this has been a difficult record to review. Those that prefer the more raw and extreme metal output of the early days will probably be in raptures about this release. Indeed, there is a lot to like about the material here; it is without doubt created with care and passion, and executed in the ultra-professional manner you expect from a band of the calibre and long-standing of Paradise Lost. There are some excellent tracks here, with some strong melodies to be heard which, in turn, pull me back for repeated listens. And I do like ‘Medusa’ more after each run through. But, I’m just not sure that this is the incarnation and direction of Paradise Lost that I like most. And, in addition, there are just a couple too many less-than-stellar tracks lurking within the record. So, in conclusion, ‘Medusa’ is very good. But in my opinion, it is not quite their best.
The Score Of Much Metal: 8.5
If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:
Hello and welcome to the latest post in this series after a bit of a hiatus, where I bring you the latest confirmed news within the world of rock and heavy metal. This series does not require the use of a crystal ball, which can sometimes malfunction with embarrassing results. No, this is a series that works on facts, on the news that I know to be true and which I bring you because I found it exciting and I’m therefore sure that you will find it exciting too.
Today’s post focuses on some of the new songs that have been revealed ahead of the full album release later in the year.
And if you’ve missed any of my previous posts in this series, links can be found at the bottom of this post.
Threshold – Legends of the Shires
Release date: 8 September 2017
Label: Nuclear Blast
Well, if you’re going to release a new song and an accompanying video, it might as well be a ten-minute monster mightn’t it? Especially if you are prog as all hell eh? So that’s what Threshold have done. Not content to compose a double album for the very first time, the UK progressive metal band have also announced a change of singer, ditching Damian Wilson in favour of a return to Glynn Morgan. And now they have released the first track off ‘Legends of the Shires’, the monumental ‘Lost In Translation’. If, like me, you are a massive Threshold fan, it’s a great time to be alive.
I’ve only listened to this song about 17 times, so I’m in no way able to dissect it quite yet. For that, you’ll have to wait until my full review later in the year. However, for now, all I can say is ‘wow’. Morgan sounds really good on this track, giving the music a whole new dimension. The prog elements are really pronounced which I like, particularly in terms of the changes in tempo, tone and with the bold keyboard sounds in places. But that chorus. Those melodies. Boy, oh boy is this one hell of an anthem. Just take a listen and tell me that you disagree. On the strength of this track, I have such massively high hopes for the full album, it’s ridiculous.
In typical Man of Much Metal style, about five minutes after I publish a blog post, one of the bands featured releases the first track off their new album. The culprits this time are Subterranean Masquerade, with ‘Nomad’, taken from their upcoming release, ‘Vagabond’.
In keeping with their last record that I thoroughly enjoyed, it will take some time to get fully to grips with the music that this band creates. However, a couple of listens in and the signs are extremely positive. I hear echoes of Amorphis in parts of this track but despite this, the final result is definitely unique. Complex and ambitious yet catchy and unexpectedly immediate with a smooth and rich sheen, Subterranean Masquerade may just have hit upon a winning formula, one that may pull me deeper under their spell. I can’t wait to hear more and bring you my considered thoughts nearer to the release of ‘Vagabond’.
Paradise Lost – Medusa
Release date: 1 September 2017
Label: Nuclear Blast
UK veterans Paradise Lost have to be one of my all-time favourite bands. Beginning my love affair nearly two decades ago with ‘Draconian Times’, I have never looked back…well, except for delving back into the Yorkshire gloomsters back catalogue of course. In so doing, I discovered the monumenatal ‘Shades of God’, a huge game-changer for me. I may not have liked the more ‘Goth’ or ‘pop-infused’ era, but of late, their albums have been tremendous, really harking back to their earlier halcyon days.
Cue ‘Medusa’, which is apparently inspired by another foray into the historic vaults. And, if this new track, ‘The Longest Winter’ is representative of the vibe and direction of the new record, we’re in for one heck of a heavy and doomy affair. Activate sarcasm mode: Oh no, how horrible.
Arch Enemy – Will To Power
Release date: 8 September 2017
Label: Century Media Records
Long term followers of my blog will be sick of hearing my thoughts on Arch Emeny. Whilst their stock has risen over the past decade or so, my liking for the band has nose-dived and I make no bones about the fact that ‘xxx’ is their last chance as far as I’m concerned. I’m sure Michael Amott is quaking in his boots at the thought of losing a slightly overweight and balding Englishman from his ever-expanding fanbase but I’ll be genuinely disappointed if I have to call it a day with a band that was so important to me at the time they released the majestic ‘Stigmata’.
So now we have ‘The World Is Yours’, the first track to be aired from the new album ‘Will To Power’…and it feels like Arch Enemy might have returned from the brink. There are still things that I don’t like so much, but in general, this feels like a proper song, something more akin to the music that the band can write when they put their mind to it. It goes without saying that the drumming and the guitar work is utterly insane and of the very highest order – the inclusion of Jeff Loomis is a BIG deal as far as I’m concerned. But more importantly, there is more to this song than just instrumental noodling and histrionics just for the sake of it. On the strength of this song, I’m feeling more hopeful than I was fearing…
It’s beginning to get serious now as I enter the second half of my ‘Album Of The Year 2015’ Top 30 countdown.
Thanks to my regular readers who have remained loyal throughout this barrage of new posts. And, if you’re new to the Blog of Much Metal, welcome! Please feel free to check out my picks from 30 down to 15 via the links at the bottom of this post.
In any normal year, this record would have been way higher in my list. However, given the strength of 2015, I award the number 14 spot to…
Number 14
Paradise Lost
‘The Plague Within’
Century Media Records
I’ve been a fan of Bradford’s Paradise Lost for a lot of years. I discovered them via their seminal album, ‘Draconian Times’ but was quick to delve further back in time, discovering other gems in their back catalogue. To this day, the criminally underrated ‘Shades Of God’ remains my favourite Paradise Lost album, so it is with genuine joy and excitement that album number 14, ‘The Plague Within’ offers a few nods in the direction of this record as well as many others, principally from the band’s earlier days.
After the foray into more Gothic pop-rock and electronic sounds, I had dreamed for an album like this but even after a return to heavier climes via ‘Faith Divides Us – Death Unites Us’ (2009) and ‘Tragic Idol’ (2012), I never dared to put voice to my hopes. And yet, in 2015, here we have Messrs Holmes, Mackintosh, Aedy, Erlandsson and Edmondson’s heaviest and arguably most varied release for a long time. The darkly-monikered ‘The Plague Within’ sounds modern and fresh, yet manages to pay homage to just about every era of their past. As such, it’s nothing short of glorious.
Credit: unknown
Album opener, ‘No Hope In Sight’, is nothing short of a monster of a track that sets the tone for the entire record in that it underlines my previous point by borrowing a little bit of every era of Paradise Lost, pulling it all together into one of the strongest compositions of the band’s career. The foreboding growls of ‘Old Nick’ joust with his mellower, clean vocals that sit on top of a song that’s properly heavy but which also showcases the band’s ability to pen seriously catchy material.
Follow up track ‘Terminal’ is equally as good. Built around a wonderfully crunchy central riff and a relentless, almost metronomic mid-tempo stomp it is deceptively catchy; a cracking mix of early Paradise Lost and ‘Icon’-era material to these ears.
‘An Eternity Of Lies’ immediately calls to mind ‘Draconian Times’ album by virtue of an immediate melody that duet with Holmes’ more melodious delivery. That said, the snarling growls are never far away and once again they feature prominently. What I also like is that this song has a really heavy bite to it as well as some sumptuous cinematic embellishments to add depth and a sense of the grandiose. ‘Punishment Through Time’ is classic ‘As I Die’ homage, complete with a hauntingly reminiscent chugging riff within the verses. And the echoes of my aforemenioned favourite Paradise Lost album continue via ‘Victims Of The Past’ which also introduces a Gothic rock veneer merged with those instantly recognisable lead guitar refrains from Gregor Mackintosh circa the early 90s.
And if you want heavy Paradise Lost, then look no further than both ‘Beneath Broken Earth’ and ‘Flesh From Bone’. The former is all-out doom metal worship complete with pedestrian tempo and crushing riffs whilst the latter borrows much from the death metal genre. In so doing, it harks back to the band’s very earliest incarnation. ‘Cry Out’ plays around with a sludgy Gothic death-meets-rock ‘n’ roll sound whilst also managing to maintain a surprising immediacy.
Arguably, the best is saved until last in the form of the stunning ‘Return To The Sun’. The intro is a thin of savage beauty and teaches other bands a thing or two about creating truly evil-sounding music. And then, once the intro gives way, the remainder of the track is brutally heavy and truly epic-sounding.
Veterans of the English metal scene they may be but ‘The Plague Within’ demonstrates that Paradise Lost have plenty left in the tank of creativity. Indeed, as good as the previous couple of albums have been, the music on ‘The Plague Within’ feels like it has been created by a band that remains hungry and is prepared to pen music that blends the old with new and interesting ideas. The final result is an album of truly epic and majestic proportions.
As I mentioned before, this year has seen some extraordinarily strong albums hit the shelves and so it has been extremely difficult to truncate my list of artists that deserve a place in this round-up. To be honest, if the year stopped here, I’d still have difficulty picking a full-year Top 20 because of the quality on offer. But that’s a headache to be faced at a later date. In the meantime, here’s the next batch of albums that have made a big impression on me so far in 2015:
Lonely Robot ‘Please Come Home’
InsideOut Music
It is a fairly accurate statement to say that if John Mitchell is involved in a band, album or project, it is almost always of the highest quality. The Frost*, Kino and It Bites guitarist’s latest venture goes under the moniker of ‘Lonely Robot’ and the results are nothing short of spectacular. Blending progressive rock with movie soundtrack music, ‘Please Come Home’ is a deeply atmospheric and wonderfully rich body of work that has to be heard to be believed. This is, quite simply, Mitchell’s tour-de-force and further emphasises his mastery of both the guitar and memorable song writing.
Subterranean Masquerade ‘The Great Bazaar’
Taklit Music
When the band refer to themselves as “the carnival of the dysfunctional and the disturbed”, you know you’re in for an interesting ride and so it transpires. The sextet that comprises Subterranean Masquerade could be argued to be something of an underground super group but what’s not arguable is the music that makes up only the band’s second release in 18 years. It is complex and diverse but manages to blend jazz, folk, extreme metal and world music into a cohesive whole that doesn’t sound contrived or incoherent; if anything, the whole thing comes together very smoothly and entertains from start to finish.
Native Construct ‘Quiet World’
Metal Blade Records
The Berkley College of Music boasts some impressive alumni and the theme continues thanks to new kids of the block, Native Construct. Seemingly unafraid to experiment, jazz, rock, metal, prog, folk, classical, funk and a whole lot more collide in a smorgasbord of musical ideas that masterfully manages to dodge the bullet of being messy, incoherent and lacking in structure. Debut album ‘Quiet World’ is initially daunting but, given time, it blossoms into a massively rewarding listening experience quite unlike any other. If this talented trio can maintain this standard, the future for them is very bright indeed.
Paradise Lost ‘The Plague Within’
Century Media Records
It doesn’t matter what era of Paradise Lost you prefer because on ‘The Plague Within’, there is quite literally something for everyone. ‘The Plague Within’ is the sound of a band reborn, of a band that has supreme confidence and of a band unwilling to compromise in any shape or form. The results are varied, challenging, confrontational and above all, stunning. There are nods to the band’s earliest incarnation as well as injections of Paradise Lost’s more recent stylistic directions. It all comes together to create a masterpiece of mournful and brooding extreme metal that’s 100% Paradise Lost.
Abnormal Thought Patterns ‘Altered States Of Consciousness’
Lifeforce Records
Wow! That was my reaction when I first heard ‘Altered States Of Consciousness’, the sophomore release from technical prog metallers Abnormal Thought Patterns. Lightning fast and dextrous guitar and bass solos/duets joust with groovy djent-esque riffing and moments of sublime atmospheric melody to create one of the very best albums of 2015 thus far. And when the solos slow down and embellish the quieter moments, ATP prove once again that when a guitar really sings, there are no better sounds to be heard on this planet. This, my friends, is goosebump and spine-tingling territory every single time.
Arcturus ‘Arcturian’
Prophecy Productions
‘Arcturian’ is the first album by Arcturus in the better part of a decade and, after disbanding in 2006, was something that many of us feared we’d never experience. Therefore, when I can also say that it is the best Arcturus record since the seminal ‘La Masquerade Infernale’ from 1997, it’s a doubly special and pleasing release. In keeping with the band’s core values, ‘Arcturian’ is an idiosyncratic beast rooted loosely in black metal but which flits from one idea to another almost schizophrenically. And yet, it is also a deceptively melodic and accessible album that delights me on each and every listen.
The ‘metalhead’s metal band’ returned during the first half of 2015 with album number x in the shape of ‘Zero Hour’, a storming album of uncompromising heavy metal. Elements of thrash metal, classic metal and New Wave of British Heavy Metal combine beautifully to create an album that is heavy, powerful and thoroughly addictive. The compositions are stronger than ever before, the choruses are more memorable and the riffs, backed up by an impressive rhythm section are sharper and more incisive than ever. Oh and vocalist Krissie delivers the performance of her career. What more could you possibly want?
Welcome to 2015! Or, to be more exact, welcome to week three of 2015, as I’m a little behind the times at the moment. Nevertheless, it is still early enough in the year to take a look at the coming twelve months to identify those releases that we’re most excited about. As is always the case with the Blog Of Much Metal, my focus is on those bands that might not be in the mainstream eye or, if they are, those bands that are particularly special to me.
As such, in this post, you’ll hear no further mention of the likes of Metallica, Iron Maiden or those of a like size, popularity-wise. These albums will be written about ad nauseum elsewhere and I’m happier to leave it that way. Of course I hope that Metallica will release something equally as good as ‘Ride The Lightning’ or that Iron Maiden will produce a record to rival ‘Seventh Son of A Seventh Son’. And only time will tell where they are concerned.
With that in mind, here’s my initial list of those bands whose new albums I’m immensely excited or intrigued about, along with a sample track from their respective back catalogues to give you a better idea if you’re new to them:
Subsignal
The band that rose from the ashes of Sieges Even and the subject of a whole ‘Unknown and Underrated’ post a year or so ago, Subsignal are scheduled to release the enigmatically-titled ‘The Beacons Of Somewhere, Sometime’, probably around September 2015. Expect expertly crafted, highly memorable and powerful melodic rock/metal with a nice splash of prog. This is one of the big excitements for me this year.
Paradise Lost
A firm favourite with yours truly, the UK’s Paradise Lost have released a good few albums that I deem as classics. The last outing, ‘Tragic Idol’ was, in particular, rather special and with news from the band that the new album, ‘The Plague Within’ has a death metal edge to it, I’m even more excited to hear the latest chapter in this impressively gloomy band’s career.
Leprous
Norway’s Leprous have been getting better with every album, culminating in the highly impressive ‘Coal’ which charted in my 2013 ‘Album Of The Year’ series. Their brand of avant-garde progressive metal is executed with amazing dexterity, youthful exuberance and with a songwriting nous that far exceeds their still tender years. It’s no surprise that these guys act as Ihsahn’s backing band, such is their abundant talent. This threatens to be a genuine progressive metal highlight for 2015.
Headspace
‘I Am Anonymous’ is one of the best debuts I’ve heard for a long time and remains a firm favourite to this very day, deserving of a place in my end of year best for 2012. Boasting the vocal talents of Damian Wilson and backed up by a group of seriously talented musicians, Headspace offer epic prog metal that blends technicality with extremely memorable song writing. Album number two should be a belter.
Vanden Plas
Germany’s Vanden Plas released ‘Chronicles Of The Immortals: Netherworld’ just last year. At the time it was mooted to be the first of a two-part concept piece and rumours are rife that part 2 will see the light of day during 2015. Inspired more and more by the theatre and creating rock-based musicals, this album will go some to beat the rich and flamboyant ‘Netherworld’, an album that charted in my 2014 ‘Album of the Year’ series. However, I suspect that Vanden Plas will be well up for the challenge.
Myrath
It has taken me a long time to fully appreciate Myrath. However, the epiphany came with their latest release entitled ‘Tales Of The Sands’. The Tunisian band really impressed me with their clever blend of progressive metal, strong melodies and traditional African instrumentation. I have really high hopes for the upcoming release and am awaiting further news on its progress eagerly.
Enslaved
There are no two ways about it, Enslaved are a special band. Beginning life as a more traditional black metal band, the Norwegians have morphed gently over the years into a much more intriguing prospect. Still extreme in many senses of the world, this is then tempered by a more progressive edge, encompassing elements of post rock, ambient and avant-garde into the process. Every new album is an event and I expect this new album to be no different whatsoever.
Riverside
After a great debut, I had begun to lose interest in Polish progressive rock band Riverside as their output failed to excite me in the same way. That was until they released the superb ‘Shrine of New Generation Slaves’, one of my favourite albums of 2013. Their modus operandi is to beguile the listener with sophisticated and atmospheric progressive rock that, when done to the full extent of their powers will enthral and delight in equal measure.
Textures
Dutch metallers Textures hold a special place in my heart as being the first real djent/tech metal band to make a positive impact upon me. Most recent album ‘Dualism’ sparked my enthusiasm massively thanks to some very technical, complex extremity that they mixed with breathtaking melody, seemingly with consummate ease. That album remains as the genre benchmark to these ears and as such, I’m highly anticipating a follow-up to further cement my love for this band.
Nightwish
Since the departure of Tarja Turunen, I have to say that Nightwish have been a big disappointment for me, both vocally and in terms of the song writing. Their last outing took many plaudits but failed to grab my interest and I was ready to relegate the band from being a blind purchase artist. Whilst I will remain cautious, my interest has once again piqued now that they boast the enormous vocal talents of Floor Jansen. I have a feeling that this next release could be rather special; I certainly hope so.
Cradle Of Filth
I will readily admit to the fact that Cradle Of Filth are special to me, not just because they’re from Suffolk but because they were one of the first extreme metal bands to find a place in my heart. Without them, I’d probably not have discovered half of my collection. And, whilst recent albums have been a little sub-par to these ears, rumours abound that maybe, just maybe, the new album has a few more links with their masterpiece, ‘Dusk…And Her Embrace’. I don’t want a clone album but if the rumours are true, I cannot wait!
Dark Tranquillity
Of all of the ‘Gothenburg’ bands, Dark Tranquillity are probably my absolute favourite. Unlike many of their compatriots and competitors, every album with very few exceptions has been a positive experience where their love of the music and their hunger and desire has shone though. It seems almost impossible for Dark Tranquillity to release a substandard album and on that basis, I see no reason as to why a new record shouldn’t be a contender for the best melodeath album of 2015.
The collaboration between The Pineapple Thief’s Bruce Soord and Katatonia’s vocalist Jonas Renkse is an intriguing one. It brings together two relatively unlikely bedfellows, one from the world of English prog rock, the other from a Swedish dark metal band. That said, the response from almost all quarters to the project known as Wisdom Of Crowds has been positive thus far. Keen to find out more, I find myself sitting opposite the duo in question, in a booth in one of the side rooms at the Highbury Garage in London ahead of their debut live show as part of the Kscope fifth anniversary celebrations.
“Wisdom Of Crowds was born about four years ago”, begins an affable and very talkative Bruce, “from a guy called Johnny (Wilks) who works at the label (Kscope) as the marketing director. We were talking about gear and studios and things like that. He told me he has some ideas and asked if I’d listen. He sent me these basic rough ideas with him singing and he asked me whether I’d be interested in producing it or at least doing something with the music. I took these ideas, stripped them down to nothing and then had some fun. There were no aspirations at that time and no-one thought it would be released. But over the years, it got a life of its own. The thing was that it never had any vocals; it was only guide vocals, so it never got finished. But that’s how it finally all came together when Jonas came on board.”
According to the press material though, the Katatonia singer had always been in mind for the project and many of the tracks had been written especially for Jonas Renkse.
“That’s probably a little bit of Kscope spin doctoring”, Bruce laughs with honesty. “I remember though that when I first joined Kscope, I nicked a copy of “The Great Cold Distance”. When I heard that, maybe in 2007, I emailed Jonas and told him how much I loved it. Jonas was always the number one but I never thought it would ever be possible, knowing how busy Jonas is with Katatonia.”
And yet here we are, proof if ever proof was needed that if you wish hard enough, magical things can happen. And, if that wasn’t enough, Jonas seems to have fit like a glove.
“I don’t know how you felt after the session”, Bruce asks of Jonas as he looks to his musical partner, “but I felt that it was so easy…”
“Yeah, I felt that as well”, Jonas agrees immediately and about as emphatically as he is able to in his laid back style. “I was a bit worried before because I really liked the music and I wasn’t sure if it would work out or if I would be good enough for it. But when we started recording, it all fell into place. Everything was so smooth and easy.”
‘Not good enough’, I mutter shaking my head. Jonas is blessed with one of the most iconic voices in metal and still he battles an undercurrent of minimal self-belief. Bruce rolls his eyes at me before smiling warmly, clearly agreeing with my slightly feigned incredulity.
“It would have been a long week though”, he offers, “if it had been like ‘take 65’ or whatever. But it was nailed within a couple of takes and we ran off a couple more just in case.”
Given his apparent concerns over his own abilities, I enquire of Jonas as to whether he had to think long and hard before agreeing to get involved with Wisdom Of Crowds.
“It was pretty much an instant yes”, is the thoughtful and quiet reply, “because I knew Bruce’s music from before and when I heard the songs I thought they were really good, really interesting.”
“I know he’s sitting here and everything, but I was really lucky”, Bruce interjects. “Katatonia had just come off a big American tour (with Devin Townsend and Paradise Lost) and were back working on the “Dethroned & Uncrowned” album. We just managed to find a week where Jonas could jump on a plane, so we were lucky and it was good timing. Also, there was no pressure in producing the album, it was always very chilled out and I think that’s why it came together so nicely. Our mind set was more like ‘ok, let’s just give this a go’.”
For an album that came together so smoothly in the final stages, it comes across as a remarkably dark record. There is a lot of warmth and accessibility within the compositions but the overriding atmosphere certainly borders on the bleak. Bruce suggests that, to a large extent, this was accidental.
“I don’t think that there was ever a point where I was thinking that it had to sound like anything”, he offers. “The bleakness is a result of how it naturally came together I think. There are some dark synths, distorted beats and lo-fi beats which help to make it sound like it does. And then I’ve always enjoyed the darker side of music both sonically and thematically.”
On the subject of the project’s chosen moniker, Bruce offers his explanation to me.
“Kscope and I were sitting there thinking ‘what the hell are we going to call this band?’ I hate coming up with band names. I mean”, he smirks, again looking over at his colleague, “I bet you’ve not had to think of a band name in years…oh, except Bloodbath of course.” Laughter ensues before Bruce continues. “I was sent a list of possible names and when I saw ‘Wisdom Of Crowds’ I thought that was perfect. It is interesting because a lot of the time, there is no wisdom in a crowd.”
“The response has been really good”, nods Jonas when I venture that the project has been received favourably for the most part. “Speaking from a Katatonia point of view, I don’t believe that they all know about this project yet. Not everyone pays attention to the news and our posts, so I think there may be more fans to come. But the fans that I have been in touch with, they have given a really good response so far.”
“I have been really surprised actually”, Bruce adds eagerly. “We have got a lot of press that we wouldn’t normally have got because of the Katatonia angle. There have been a lot more metal journalists reviewing the album and in general, they’re saying that they really like it, which is cool. If anything, people have been very open-minded to this music.”
Given the feedback and the apparent popularity of Wisdom Of Crowds, it would be a shame if this was just a one-off. Fortunately, it seems like I’m not the only one who thinks this, as Jonas confirms.
“We hope there will be more from this band, yeah. It is something that we talk about all the time when we see each other. Again, it is about finding the time to do it because we really enjoyed working together, so there’s no problem there.”
“Also”, Bruce offers, “because Jonas came quite late to the process, next time I hope that it will be much more of a true collaboration. That’s what we hope for anyway.”
And the good news is completed when it transpires via Bruce, that more live shows are definitely on the agenda too.
“We hope so. We’re meeting our agent soon to discuss this very subject. Fingers crossed we can organise some kind of tour. A lot of it depends on the album’s penetration and how far the album gets out there. It has had good press, but we need to see how the album goes down with the fans to a certain extent and gauge the demand for more shows.”
“We will see how this gig goes first too”, Jonas quietly chuckles, before allowing Bruce to continue.
“We’ve been cramming for the past two days in a little sauna of a rehearsal room. So you may have to interview us after the show as well because it might be our last ever gig!”
“We’ll keep saying that after every song: “Remember, this is our first show.” Cue more laughter from the apparently-relaxed duo before Bruce ends things on a slightly nervous note.
“That’s the worrying thing in a way because everyone keeps saying ‘it’ll be great, they’re pro’s, it’ll be great.”
And you know what? They were great. Who would have thought it eh?!
Threshold – Legends of the Shires
Subterranean Masquerade – Vagabond
Paradise Lost – Medusa
Arch Enemy – Will To Power
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