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Class 6(66)

Paradise Lost: Draconian times

10/09/10  ||  Altmer

Introduction

So, where’s “Gothic” or “Icon” in the class6(66)? Not there, you say? So why aren’t you, Altmer, resident newbie, liker of melodic stuff, non-br00tal staff member, reviewing those classic Paradise Lost albums? I mean, this band went gay right? Really! They did! But, err, no, not really, that is what I say. “Draconian Times”, to me, is the peak of that old band called Paradise Lost that helped invent the doom/death genre and then thought being Sisters of Mercy was a good idea (hint: no, but it does make your songs catchy). And that’s not because it’s less metal now, but because of the songs. You see, this is the best quality album Paradise Lost have released. And I dig it.

Songwriting

8. I like the songs. This is the first and foremost thing about this album – the songs are extremely strong throughout. The latter half of the album is not as awesome as the first half, though – and all the memorable songs are stacked towards the beginning of this album. So if you want a single song to serve as an outtake – pick one of the first six. The songs are mostly in the lower range of mid-tempo – a few songs pick up the pace, such as “The Last Time” (one of the best songs on the album) and the fast “Once Solemn”. Mostly they are just variations on a single theme, but it’s a mood album, not a skills album, so take that as you will.

Production

8. All is crystal clear and audible, but there’s something lacking with regards to the guitar tone. However, the album’s production has a quaint, haunting feel that I really love and the melodic guitar lines are really audible – the weeping moon under shaking trees in a November gale feel kind of thing. I love that. It has a moody feel to it, and though the production isn’t optimal it sounds like it’s supposed to sound.

Guitars

9. No guitar pyrotechnics, but who gives a shit about that. The riffs are simplistic but they all work in context. The guitar leads are where it’s at, though – the slow, weepy guitars may sound cheesy to some, but the soloing can send you over the edge. In fact, it’s those guitar leads that make it sound like quintessential Paradise Lost (no, Depeche Mode keys in a later period do not count as a signature sound). If you want effective guitar work, look no further than this album.

Vocals

8. James Hetfield at its best this. Nick Holmes has the same type of power and gravel in his voice, but he sounds less like the young squealy Hetfield and more like his later, mid-era self (when his vocals were best, around Justice/the self-titled). And yes, it really does sound like him. Most of it is shameless Hetfield-worship and be happy the songs aren’t fast because else this would just be Metallica, part deux.

Bass

6. There is bass, it’s good, and nobody cares about it on this album. It’s there for rhythm purposes, it’s necessary, but a striking aspect of the music it is not. I’ll be damned if it’s sloppy though – tight work.

Drums

7. Nice, varied, suits the tempo. A lot of reverb in the sound which gives the album its sort of cavernous feel (this album to me feels like I’m sitting in a jail cell). Of course they have a better drummer now, but this works with the music so I don’t care very much.

Lyrics

8. Kill yourself. That is the idea of these lyrics. Nothing ever will change about this band that way methinks – it’s slow, moody music and they want to kill themselves apparently. An older theme than old, but it works with the music.

Cover art

9. Now this is some amazing cover art. Looks like it was dreamt up by a crazy art student though. But it’s a splash of colour and the inside booklet artwork makes me feel like I’m a demented old person in a jail cell, or Miranda in “The Collector” (that is, the book). When I first listened to this, the artwork made me think my room was empty and there was just some tap water running. It feels like the album makes you empty, and the cover art aids in that.

Logo

7. It’s a working logo. That’s all there is to it. You need a logo, it works. Nothing shpeshul.

Booklet

9. All lyrics, extremely gorgeous coloring, very effective overall. Pictures of band members obscured, it all looks like they’ve got a crazy art student to figure out the artwork and it looks like he’s taken Aztec meets Picasso meets a lot of weird stuff to form the coloring. It’s scary (but not in a horror gory way, more in a psychologically fucked up way) and hence, I love it. It’s really how mood-setting imagery works.

Overall and ending rant

This was a transition album, and the album is not as heavy as the previous albums – Nick doesn’t growl either, but this vocal style suits him very well and it works excellently in tandem with the songs. This is one of those albums where the songs are stronger than the individual units of the album – there’s nothing special about any of the band members, but the songs are so expertly composed and performed that the overall cumulative effect is enormous. That’s the appeal of this album – listen to it in its entirety on an empty rainy day when you’re alone and you’ll understand why this album is so good.

8,5

  • Information
  • Released: 1995
  • Label: Music for Nations
  • Website: www.paradiselost.co.uk
  • Band
  • Nick Holmes: vocals
  • Aaron Aedy: guitars
  • Greg Mackintosh: guitars
  • Steve Edmondson: bass
  • Lee Morris: drums
  • Tracklist
  • 01. Enchanted
  • 02. Hallowed Land
  • 03. The Last Time
  • 04. Forever Failure
  • 05. Once Solemn
  • 06. Shadowkings
  • 07. Elusive Cure
  • 08. Yearn for Change
  • 09. Shades of God
  • 10. Hands of Reason
  • 11. I See Your Face
  • 12. Jaded

Class 6(66) -reviews

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