Skip to main content

Paradise Lost - Icon (album review)


Paradise Lost -  Icon  (album review)


Icon: How Paradise Lost Created a Gothic Metal Masterpiece

What if I told you that there is a metal album that combines the heaviness of Metallica, the atmosphere of Celtic Frost, and the emotion of The Sisters of Mercy? You might think that such a combination is impossible or absurd, but there is one band that proved otherwise. That band is Paradise Lost.

Paradise Lost is a British band that started their career as a doom/death metal act in the late 80s. They were part of the so-called “Peaceville Three”, along with Anathema and My Dying Bride, who pioneered the genre of doom/death metal in the UK. However, Paradise Lost soon evolved into something more than just another doom/death metal band. They experimented with different styles and influences, and in 1991 they released their second album, Gothic, which is widely regarded as the first gothic metal album ever. Gothic metal is a genre that blends doom metal with gothic rock influences, such as female vocals, keyboards, strings, and dark atmospheres.

Paradise Lost continued to evolve and refine their sound on their next albums, Shades of God and Icon. The latter, released in 1993, is widely considered their best work and a landmark of gothic metal. Icon is an album that showcases Paradise Lost’s unique sound, songwriting, and themes. It combines heaviness and emotion, power and subtlety, simplicity, and complexity. Countless bands and genres in the metal scene have been influenced by this album.

In this blog post, I will explain why Icon is such a brilliant album and how it showcases Paradise Lost’s unique sound, songwriting, and themes. I will also provide some examples of songs from the album that illustrate my points.

The evolution of Paradise Lost’s style and sound

To understand why Icon is so special, we need to look at how Paradise Lost changed their style and sound from their previous albums.

On their first three albums, Paradise Lost used death metal vocals, slow and heavy riffs, and gothic elements such as female vocals and keyboards. Their sound was influenced by bands like Celtic Frost, Candlemass, Black Sabbath, and The Sisters of Mercy. Their vocals were harsh and guttural; the riffs were low-tuned and crushing; the gothic elements were eerie and haunting. The sound was dark and gloomy, but also atmospheric and melodic.

On Icon, however, Paradise Lost adopted a more streamlined and powerful approach, influenced by bands like Metallica and Black Sabbath. They changed their vocals, riffs, production, and atmosphere to create a new sound that was still gothic but also more modern and accessible.

The opening track, Embers Fire, sets the tone for the album with its catchy riff, aggressive vocals, and melodic chorus. The vocalist, Nick Holmes, abandons his death growl and adopts a clear and expressive voice that resembles James Hetfield’s. He sings with passion and conviction, delivering the lyrics with emotion and intensity. 

The guitarists, Greg Mackintosh and Aaron Aedy, create a perfect balance between crushing riffs and mournful melodies. They use power chords, palm muting, and down-tuning to create heavy and catchy riffs that drive the songs forward. Solos, acoustic guitars, and harmonies create melodic and atmospheric passages that add depth and emotion to the songs. You can hear influences from Tony Iommi, James Hetfield, and Kirk Hammett, but they also have their own distinctive style that makes them stand out.

The production of the album is also much improved from their previous efforts. The sound is crisp and clear, but not over-polished. The drums are punchy and solid; the bass is thick and groovy; the guitars are heavy and sharp. The album sounds modern and timeless at the same time. The producer, Simon Efemey, did a great job in capturing the essence of Paradise Lost’s sound and enhancing it with his skills.

The atmosphere of the album is also different from their previous albums. While they still retain some of their gothic influences, they also incorporate some elements of classic metal and hard rock. The album has a dark and gloomy mood, but also a sense of energy and passion. Far from being monotonous or boring, it has a lot of variety and dynamics.

Icon is an album that marks a turning point for Paradise Lost. It is an album that shows their evolution and maturity as a band. It defines their identity and style. It also sets them apart from their peers and influences.

The songwriting and the melodies

Another reason why Icon is such a great album is the songwriting and the melodies that Paradise Lost crafted on this record.

Paradise Lost managed to create songs that are both heavy and emotional, simple and complex, powerful and subtle. They used a variety of techniques to achieve this effect, such as tempo changes, guitar solos, acoustic passages, strings, and female voices.

One of the highlights of the album is True Belief, a song that starts with a slow and haunting intro and then explodes into a fast and furious verse. The chorus is one of the most memorable in metal history, with its catchy melody and poignant lyrics: “ All I want is the same, All I want is, A true belief”. The song is a perfect example of how Paradise Lost combine heaviness and emotion, power and subtlety, simplicity and complexity. The song has a simple structure, but it has a lot of changes in tempo, mood, and intensity. A great combination of a heavy riff and a melodic chorus. It's a powerful vocal performance enriched by poetic lyrics.

True Belief is also a song that showcases Greg Mackintosh’s signature guitar style. He plays a solo that is both melodic and technical, adding a lot of emotion and flair to the song. He also plays an acoustic guitar in the intro and outro, creating a contrast and a balance with the electric guitar. Harmonies and effects are used to create a rich and diverse sound.

Another standout track is Christendom, which features a stunning female vocal performance by Sarah Marrion that adds a gothic touch to the song. The song has a contrast between the soft verses and the heavy chorus that creates tension and drama. The lyrics are also very interesting: “For my life and the stars creation,For my life it's the same rejection, Lost in life, I'll blame it all on you”. The song is another example of how Paradise Lost use different elements to create a rich and diverse sound. The song has an acoustic guitar, but there's also a distorted guitar. There's a gentle verse but also an aggressive chorus.

Christendom is also a song that showcases Sarah Marrion’s amazing vocal skills. She sings with a clear and angelic voice that contrasts with Nick Holmes’s rough and harsh voice. She sings with emotion and grace, adding a lot of beauty and elegance to the song. The Latin in the outro adds some mystery and mysticism to the song.

The songs on Icon are not only well-written but also well-performed. The band plays with skill and passion on every track. The vocals are expressive and emotional; the guitars are melodic and powerful; the bass is solid and supportive; the drums are tight and dynamic. The band sounds like a cohesive unit that works together to create something amazing.

Icon is an album that showcases Paradise Lost’s excellence in songwriting and melodies. It is an album that has a lot of hooks and catchiness, but also a lot of depth and emotion. It appeals to both the head and the heart.

The themes and the lyrics

Finally, we need to talk about the themes and the lyrics of Icon, which are dark, gloomy, and pessimistic.

Paradise Lost explored topics such as religion, death, despair, betrayal, and loneliness on this album. They used poetic and metaphoric language to express their feelings and views on these issues.

One of the most striking songs on the album is Widow, which deals with the loss of a loved one. The lyrics are heartbreaking and powerful: “Stand on your own, killed from behind, Fools are blind, unwilling to accept, decline, You'll turn a blind eye”. The song captures the pain and emptiness that comes with grief. The song also uses some metaphors to describe the situation, such as “Strong, don't see that love has ceased, In the end, only death can release”. Widow is also a song that reflects Paradise Lost’s personal experience with loss.

Another song that tackles a controversial topic is Dying Freedom, which criticizes organized religion and its hypocrisy. The lyrics are blunt and provocative: “Gather around, the secrets that you know, And the speech that makes blood flow, Blame desire, you'll blame revenge”. The song challenges the dogmas and the promises of religion and exposes its flaws and contradictions. The song also uses some irony to mock the religious beliefs, such as “The ritual explosive fires, Rewarding enemies, Shells of empty faces, crying to be free"

Dying Freedom is also a song that reflects Paradise Lost’s personal views on religion. The band members have stated that they are not religious and that they are critical of organized religion and its influence on society. The song was inspired by their observations and experiences with religion and its followers. The song was also influenced by some of their favorite authors, such as George Orwell and Aldous Huxley, who wrote about dystopian societies and totalitarian regimes.

The themes and the lyrics of Icon are not for the faint of heart. They are dark, depressing, and sometimes disturbing. They reflect the band’s disillusionment and frustration with the world and themselves. They also show the band’s courage and honesty to express their thoughts and emotions without fear or compromise.

Icon is an album that showcases Paradise Lost’s depth in themes and lyrics. It deals with some of the most important and relevant issues in life. Moreover, it challenges and provokes the listener to think and feel. 

Conclusion

Icon is not only Paradise Lost’s best album but also one of the best metal albums ever made. It is a must-listen for any fan of metal, gothic rock, doom metal, or atmospheric music.

If you haven’t heard Icon yet, do yourself a favor and check it out. You won’t regret it.

 


 

Comments

Popular posts from this blog

Entombed - Wolverine Blues (album review)

Wolverine Blues by Entombed: A Death ‘n’ Roll Masterpiece or a Death Metal Sellout? If you're a metal fan, you've probably heard of Wolverine Blues , the third album by Swedish band Entombed. Released in 1993, this album is considered one of the pioneers and classics of death 'n' roll, a genre that combines death metal and hard rock. But what is death 'n' roll and why is it so controversial? How does Wolverine Blues compare to previous Entombed albums and other bands and genres? Is it a metal masterpiece or a death metal sellout? In this blog post, I will try to answer these questions and give you my personal opinion about this album. What is Death ‘n’ Roll? Death 'n' roll is a term describing a style of metal that combines elements of death metal and hard rock. Death metal is a subgenre of metal that emerged in the late 1980s and early 1990s, characterized by fast, aggressive, and complex riffs, blasting beats, distorted guitars, and growling vocals. Ha

Corrosion of Conformity - Blind (album review)

Damned for All Time? A Review of COC’s Blind Album Corrosion of Conformity (COC) is an American heavy metal band from Raleigh, North Carolina, formed in 1982 as a hardcore punk act. The band’s original lineup consisted of Woody Weatherman on guitar, Mike Dean on bass and vocals, and Reed Mullin on drums and vocals. They released two influential albums in the mid-1980s, Eye for an Eye (1984) and Animosity (1985), which combined hardcore punk with thrash metal and crossover elements. In addition, they became known for their anti-authoritarian and anti-war lyrics, as well as their iconic spiked nuclear skull logo. Blind is their third studio album, released on November 5, 1991, via Relativity Records. It marks a significant change in their musical style, from crossover thrash to a more straightforward metal genre, influenced by Metallica , Black Sabbath , and punk. The album also features a new lineup, with Karl Agell on lead vocals, Pepper Keenan on rhythm guitar and vocals, Phil Swish