Tragic Idol
Tracklist:
1. "Solitary One" 4:08
2. "Crucify" 4:08
3. "Fear of Impending Hell" 5:25
4. "Honesty in Death" 4:08
5. "Theories from Another World" 5:02
6. "In This We Dwell" 3:55
7. "To the Darkness" 5:09
8. "Tragic Idol" 4:45
9. "Worth Fighting For" 4:12
10. "The Glorious End" 5:23
Limited edition bonus CD
11. "Ending Through Changes" 4:09
12. "Never Take Me Alive" (Spear of Destiny cover) 4:48
Альбом - просто мечта, о которой даже и не мечталось!!!
Для меня это - сверхъестественное сочетание всего лучшего, что есть на Icon и Draconian Times плюс мелодичность и зрелость Paradise Lost '05. Что называется, blew me away!
Можно только гадать - как они этого добились? Всему ли виной переиздание Draconian Times MMXI? Сыграла ли свою роль смерть отца Макинтоша? In Requiem с резкими отличиями-изменениями для меня был проходным на фоне Paradise Lost 2005 (любимейший мой из дискографии, но теперь, с TI, я сомневаюсь). Faith Divides Us - Death Unites Us содержал в себе As Horizons End и The Rise Of Denial - как маяк чего-то смутно-предстоящего, но когда они были предсказуемыми? Когда еще справедливо хотелось запихнуть почти каждую песню с только вышедшего альбома в легендарный Draconian Times - потому что кажется, что они почти что оттуда, стоят наравне, потому что кажется, что вокал Холмса за 17 лет ни капельки не изменился?? И всё же есть в нем что-то, что пленяет меня больше славной эпохи 1993-95, иначе здесь эта сила, мощь, энергия, завораживает по-другому, звучание не отпускает ОТ и ДО, каждая песня превосходна, с
Solitary Man попадаешь в какой-то транс, через
Crucify, где не можешь удержаться, чтобы не подпевать (Am I dreaming? - A sinner soon to die. - Am I dreaming? - The sentence you decide.
Crucify!), к вообще великолепной
Fear of Impending Hell, которая вообще вынесла меня напрочь и так далее, далее, без остановок до завершающего
Glorious End. А потом - переслушать.
Greg Mackintosh’s searing, oh-so-familiar lead-work, it is a fine opening, that captures the mood of the album perfectly with gentle keyboard parts offsetting the brutal riffs on display. The true star of ‘solitary one’, however, is Nick Holmes who has turned in a vocal performance of power and authority, once again reminding the listener that he is one of metal’s finest vocalists. Second track ‘Crucify’ is a blistering delight that builds upon the desolate atmosphere of ‘solitary one’ and throws some brilliant solos in amongst the splenetic riffs and furious vocals. Quite what has lit this fire under Paradise lost is unknown; perhaps it was the rapturous response of fans to the ‘Draconian Times’ shows, or maybe it was Greg’s stint away from the band crafting the mighty Vallenfyre album; but whatever it is everything here feels bigger, bolder and more powerful than even ‘faith…’, even while the sound is still recognisably that of Paradise Lost. It is on the third track, the brilliantly titled ‘fear of impending hell’ where the band really start to push the boundaries. A far off guitar wails in the darkness before a massive riff surges forth from the speakers. So far so Paradise Lost, but then suddenly the band switch tone for a verse that employs acoustic guitars to craft a sense of light and shade that sees the heavier passages sounding truly monstrous in the face of such melody. With a truly rousing chorus, despite the grim subject matter, it is destined to become a live favourite when the band head out on tour later this month. Better yet is the scything riff of ‘honesty in death’ (see video below) which, with its chugging riff and brutal vocals, could easily fit right into the heart of ‘Draconian Times’.
Having drawn the listener in with both melody and power, Paradise Lost then unleash a sonic curveball in the form of ‘theories from another world’ which is quite simply the heaviest track they have ever written. A massive, seething riff dominates the song whilst oppressive bass, swathes of keyboard and a double kick drum assault roam the ramparts. It is a heart-stopping, adrenalin charged beast of a song and it perfectly encapsulates the power that Paradise Lost are capable of bringing to bear into an utterly brilliant five minutes. ‘In this we dwell’ opens with a riff that sounds bizarrely like a corroded version of Van Halen’s ‘ain’t talkin’ ‘bout ‘love’ before slamming into more traditional doom pastures albeit with a sense of vitality that catches you off-guard. ‘To the darkness’ is equally immense – a furious riff-fest that suddenly implodes for a pitch black mid-section that crushes everything in its path with its sheer oppressive weight. With solo’s scarring the surface and Nick Holmes’s vocals never less than awe-inspiring, this is the Paradise Lost that we know and love but with a furious sense of purpose and self-discipline that marks out each and every song as something special. This is equally true of the title track which takes the powerful rhythmic punch of ‘say just words’ and combines it with the wall of guitar sound of ‘hallowed land’ for a track that is both memorable and heavy – a trick few bands pull off with this much success. Another highlight of the album is the oppressive ‘worth fighting for’ which has, at its core, a brilliant percussive performance that is almost tribal in its intensity, coupled with an oily guitar riff and multi-tracked vocals all of which combine to create an air of impending doom that carries over into the treacle-thick guitar riffs of closing track ‘the glorious end’ which rounds out the album with an epic sense of fading grace and decaying grandeur. (c)
Отшлифованный итог 20 лет, которым нельзя не наслаждаться бесконечно. Для меня...
Альбом года.
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а насчет сегодняшнего творчества группы можно с уверенностью сказать, что они действительно Lost..но это не мешает мне любить их раннее творчество.
