Paradise Lost – Obsidian (2020) – Despite the recent covid crisis, it is safe to say that there are still great things to look forward to while most of you are stuck in isolation and this latest Paradise Lost effort seems to be one of them. Not quite the death metal monster that comprised the band’s previous output, Obsidian serves as kind of a “best of” showcase of all the band’s different styles and sounds over the past couple of decades. “Darker Thoughts” seems to balance the band’s thundering death metal side well with it’s more melodic nature, as well as throwing in a fantastic solo effort right towards the end. It’s a great introduction piece to the band, in all actuality. If you’ve never heard Paradise Lost, this is a good place to start. Next we have the single “Fall From Grace” which seems to play along the same lines, though feels a bit like an outtake from the band’s prior album. I didn’t like it the first time I heard it, but after a couple more listens, I have to admit that it’s grown on me. That being said, there are cuts on this one that I’ve enjoyed far more. “Ghosts” however, sounds more like what I was hoping for as the band’s Goth-tinged mid-era seems largely forgotten by all but me, apparently – but it was A Symbol Of Life that turned me onto these guys and I’m just glad that they are still willing to pursue this style in addition to their praised death metal antics.
It doesn’t end there though, as “The Devil Embraced” seems to meld those Goth efforts with potent death metal, not rolling completely into synths, though still utilizing a few organ synthesizers to keep the mood. There’s also a portion here that I found to be completely pummeling, so be on the lookout for that. “Forsaken” may hearken a bit back to the Draconian Times style which I know was beloved by fans, though it also contains a slight hint of Goth elements here and there as well. It is important to note that although Obsidian contains slivers of all the band’s previous eras, nothing here sounds directly like a song from those eras. Everything here sounds slightly modified, so as not to sound like the band are copying themselves. “Serenity” comes in next, with some of the best opening riffs I’ve heard from these guys in a while. The guitar element in general is quite potent here, as riff melodies and solos both seem to shine in the way that any metal fan should be pleased about. As showcased in this song, the record also contains a great deal of harsh vocal peppered over nearly every song, but Obsidian is not as slow paced as —- was, which I found to be a bit of an issue. The record was a bit too doom metal for it’s own good, though I know there are people who loved it for that.
“Ending Days” feels like a doom-tinted ballad and it doesn’t hit me all that hard in retrospect. I’m sure that people will love it just as much as I dug the large amount of explosive solo injections it contained, but it just wasn’t to taste for me. You’ll probably love this one and think me a fool though. “Hope Dies Young” brings back the Goth elements for one last time, but I find myself unmoved by this one aside from the solo sections which I find are completely crushing. This has to be the most guitar solo heavy Paradise Lost album I’ve ever heard and I’m not sure how fans will take to that news. The album actually shreds, so prepare yourself for that. The disc actually ends with “Ravenghast” which can be described as a Gothic death metal tune, so of course you’re going to have fun with that. It may as well have been on Gothic, so think of it as a type of fanservice moment. There are two bonus tracks here as well and I’m not sure how much I am allowed to say about them. However, “Hear The Night” may as well have been on Gothic and it’s comparable to an anime fanservice moment. You’ll want the limited edition just for this one. There’s no “we thought this was a B-Side” excuse here, fellas. This is the kind of song that people actually pay money for. The same can be said about “Defiler” which is just death metal with great solos. If the band, label, manager or someone else involved somehow felt this was a B-Side, then let me know, so that I’ll know who to flog. As a matter of fact, if these songs are not offered on your copy of Obsidian, don’t buy it. This isn’t even a one good bonus song and some crap at the end situation. These songs are actually better than some of the songs on the actual album. Again, let me know who I need to flog, because The Grim Lord has his flogging stick ready.
Aside from all this though, the guys knocked it out of the park and managed to deliver another great album. Some things are opening back up, but I don’t know if record stores are one of them. Even so, you’ll definitely going to want to get your hands on this album. It’s actually kind of a shame that not as many people who would want to get their hands on this album will be able to do so and maybe the band should have a streaming concert for this one, which fans can donate to so that they can at least get some revenue back for the crushing effort that Obsidian is. The record is too good to not support and I honestly hope that it won’t be forgotten just because of the time period in which it was released. I’m not saying that bands should release bad records during a crisis situation like this, but good records that need support are definitely going to suffer because a lot of people will want to have a physical copy in hand. That being said, you can always order it from Amazon. I ordered a few things recently and they came pretty fast. Again, make sure you get the bonus tracks on the album or you’re going to be upset about it later, I’ve made that mistake before with records.
9/10
Secrets of The Moon – Black House (2020) – Well, here’s a place I never thought we’d be. Secrets of The Moon have been a black metal band for over a decade now, but around the time of Sun they decided to show their Gothic side. I remember my former colleague really digging Sun, though I could not get into it at all, with the exception of one song – “Here Comes The Sun.” So I decided I would give this one a spin, considering the scant possibility that the songs could go in that direction. Surprisingly, they did. Black House sounds quite a bit like early Cure, Sisters Of Mercy, mid-era Swans, current-era Tiamat and mid-era Anathema. Do you love Goth rock? Well, you’ll have a blast here. Do you love black metal? Well, I really don’t know what to say, but I’m sure you’ll move onto something else. On this offering are nine brand new tracks, each with their own distinct Gothic style. That’s refreshing, right? At least they had the good nature to make different styles of Gothic music, rather than give us the same sound over and over again. The record greatly benefits from it as well.
“Sanctum” kicks in with the Sisters Of Mercy sound almost instantly, though there are a few shouts right towards the end. The song also has a rather punchy bass, even though it generally sticks to sullen leads. I liked this one the first time I heard it, but now I’m finding the angry background shouts to be something of a hindrance. It’s sounds like the guys from Biohazard or Hatebreed shouting in the background and that does not a Gothic album make. That being said, “Don’t Look Now” thankfully changes the style to something that at first feels wholly uninviting and creepy, though moves into an almost ethereal sound that feels strongly occult. There are sections where the creep factor moves in, but the Dead Can Dance nature of the chorus really sticks with me. There’s something strongly powerful about it.
“Veronica’s Room” is the first song I’d actually heard from the album, being strangely confused by the new look and sound of the band in the enclosed video. I honestly didn’t know what to tell the publicist at that point, but I knew that I was definitely interested in the album. Unfortunately, I wasn’t exactly digging this one because it felt more like a caricature of Goth rock, than something that breaks the mold. To best describe this one, it felt like what you would find if you looked up “Goth rock” in the dictionary. It isn’t that “Veronica’s Room” is a bad song, but I’ve heard it before. I grew up with this kind of stuff, so compared to a majestic piece like “Here Comes The Sun” it felt pretty damn silly. I’m not saying they can’t have fun, but this is the equivalent of me singing about anime waifus and video games on a record where someone is looking for more intellectually stimulating content. Not that singing about anime waifus is a bad thing. More bands should do it.
Skipping that train wreck, we have “He Is Here” which comes off as monumental. The synthesizers create a weird effect that makes me think the band is in the middle of an alien invasion. The piece also packs on a bit of muscle right towards the middle, nearly becoming a full-on metal track. My favorite track on the album is actually “Cotard” due to it’s amazingly passionate chorus. I was putting items on a shelf and just kind of fell into a kind of haze during this one, so there’s certainly something special here, even if might be one of the album’s lightest tracks. The album’s title cut actually feels a bit grunge, so if you like Nirvana, Alice In Chains or Soundgarden, you’re going to find something to like here. I would not have expected it either and at least it confirms my statement about multiple styles of goth rock, rather than the same approach throughout. The solos here are also quite brilliant, I’m really loving the fact that guitar solos are making a big comeback in modern rock and heavy metal music, because they are parts of it that should have never been removed from that equation. Rock and heavy metal are guitar based styles of music to begin with, so it is only right that the core element should have a place to shine apart from the drums and vocals. “Heart” is largely an atmosphere, though it seems to channel a bit of Crowley. I keep thinking that “Heart” here has something to do with “Heart Of The Master” which I’ve read many times. That actually brings me back to the Damien Echols episode of The Midnight Gospel, where Echols stated that Crowley wrote in code and there’s so much that you have to be able to read and understand before you can even grasp some of the things he wrote about in his various books and within the OTO. This song just feels like it has that energy though, and maybe the band are speaking in code here as well. Certainly makes up for “Veronica’s Room.”
I’m not going to go much further into it than that, because you obviously get the picture. The band’s frontman —- has always had a great voice for black metal, and his singing can at times be rather catchy and haunting. That being said, he does not have the greatest voice for this kind of music and I think the band will need to evolve a bit further in this particular new direction that they’ve taken. My only real issue with this album is that it sounds so far removed musically from Secrets Of The Moon as we’ve known them and feels like the debut album of a completely different band, entirely. Not that bands haven’t done this sort of thing before, Opeth certainly changed expectations when they went from progressive death metal to just plain old progressive metal. Even Anathema and Tiamat didn’t start out in their current styles as both were performing a version of extreme metal. The same can be said for Theater Of Tragedy and numerous others. At the end of the day though, Secrets Of The Moon have proven successful with Black House and the album shows that they can do far more than just intriguing black metal. Obviously, there are albums from these guys that I’d pick over it and we now have to consider that back catalogue when judging their legacy. While Black House might not appeal to a majority of black metal listeners, I do think that what’s left of the Goth crowd will find something here. I shudder to think about the number of e-thots that will dress up as fake Goths for their cam streams while “Veronica’s Room” plays in the background, making me wish this record had only consisted of eight tracks, rather than nine. Not surprisingly, that seems like a fair score for the album too.
8/10
Katatonia – City Burials (2020) – First of all, City Burials is not a heavy record and it wouldn’t technically be right to call it metal per se. it does have some heavy parts, but mainly seems experimental and overbearingly electronic. There are dozens of effects sprinkled throughout the album and it is completely doused in synthesizer. While opener, “Heart Set To Divide” sounds like it may contradict my point about the disc lacking heavy or metallic elements, it is largely the case further out. “Behind The Blood” also might sound a bit punchy, but trust me – I know what I’m talking about here. “Lacquer” brings in synthesized beats (not unfamiliar to those utilized in current pop music) while “Rein” and “The Winter Of Our Passing” feel more like hard rock, and the latter is saturated with synths. It almost feels like Goth rock, though contains a section of easy listening atmosphere and strangely, more pop beats. “Vanishers” is an electronic infused alt rock piece with a female backing vocal. It’s haunting, but also a bit sweet and not quite as doom and gloom as you might expect for the band. “City Glaciers” reminds me of the band’s mid-era material when songs like “My Twin” worked well for radio. However, “City Glaciers” is a bit more artsy and textured than the former, even though it still fills me with the same vibe that I get from “My Twin.” When we get to “Flicker” I guess you can say that there are metal elements in the background, but they are awfully softened with the electro-pop beats and atmospheres being shoved in here. “Lachesis” isn’t worth remembering, but “Neon Epitaph” certainly is – especially if you love Tool. This whole album so far seems to be directly influenced by other artists and only sounds like Katatonia in part. In fact, “Neon Epitaph” almost sounds like the band writing a Tool song. Even so, I think people will dig it. The album ends with “Untrodden” which is largely a soft ballad with a massive guitar solo injection. Not that I’m complaining.
I’ll be honest though, I kinda like it. Sure, City Burials is not Katatonia at their most fearsome nor foreboding, but it’s still a rather catchy and well meant album. This was obviously an experiment for them and I’m glad that they did it, rather than coming out with something absurdly heavy for death metal fans. It does have a few punchy moments, but I wouldn’t dare consider it any form of extreme metal, especially during the named tracks where the band scarcely uses guitar. There’s nothing wrong with a departure from heavier sounds and styles and frankly, I don’t think it was a bad idea for them to experiment beyond what we’ve already heard or what we might expect from the band. I was expecting this to be a heavy doom record, but when I realized that it wasn’t, I found myself not only surprised; but quite pleased with the whole experience. It may not be what some of you wanted, but it caught my attention and I found myself absorbed into the majority of the experience.
8/10