30-го сентября 19:00 ДК Горбунова
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ВИА "[b]
Paradise Lost"
живая легенда британского gothdoom metal
The British doom metal band Paradise Lost formed in Halifax, England in 1988.
On their debut, "
Lost Paradise" (1989), Paradise Lost helped define the rules of doom/death metal: grinding, de-tuned anthems of woe topped with death metal-style guttural vocals.
Even as the band was helping to define the basic tenets of the newly born doom/death metal movement, Paradise Lost was already evolving at a fast clip. With their second album, aptly titled "
Gothic" (1991), they created overnight the genre of Gothic Metal, combining the raw energy of the heaviest metal guitars with the fragile aesthetics of Dark Wave. Though it was a perfectly logical step in retrospect, it seemed at the time of its release like something of a departure for the band's earliest fans. This perception was largely enforced by the less deliberate, more energetic arrangements given songs like "Dead Emotion" and "Shattered," not to mention Paradise Lost's slightly cleaner approach to guitar crunch. Further standouts such as the title track, "Eternal," and "The Painless" also made cautious use of keyboards and even female vocals, which together added atmospheric nuances to the group's ultra-depressive power chords.
1992's "
Shades of God”.
1993's "
Icon" represents a turning point for Paradise Lost: vocalist Nick Holmes loses the limiting growl in favor of a James Hetfield-style bark and Gregorian chants, while mastermind Gregor Mackintosh (lead guitar) further perfects his brand of baroque metal. The somewhat coy Death Metal roots were outgrown here, replaced by more traditional, rabble-rousing riffs; but the penetrating feeling of unhappiness remained. Athough older fans were beginning to protest that the band was becoming a sellout, this album retains the harsh edge of earlier albums while refining a more artistic vision for the band. Experimentation fits in flawlessly with the new sound: synthesized strings on "Embers Fire," angry coliseum crowds on "Colossal Rains," timpani and piano in "Deus Misereatur," and angelic female vocals in "Christendom." It would be difficult to overstate the mastery and genius behind Mackintosh's guitar work and arrangements. The album's scope is majestic and the end result is nothing short of glorious. Listeners who prefer the heavier elements of these songs should move backward in the band's canon, preferably to "Gothic"; those who are thoroughly satisfied with the sound may enjoy "Draconian Times" even more.
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28.5.2005, 23:54
