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Review: Paradise Lost, Thekla
Back in the bad old days of early goth, music seemed to come a very poor second to image as our pasty-faced chums attempted to out-sullen one another while playing mediocre indie with black nail varnish. The advent of goth-metal might have left the purists aghast but gave the genre a firm kick up the arse, added some real musical substance and brought on board hordes of new fans. Halifax’s Paradise Lost can rightly claim to be one of the originators, having evolved from a doom metal act back in the early 1990s. But as is so often the case with trailblazers, many of the bands they influenced – Nightwish and Within Temptation among them – now pack arenas, while 2018 finds Paradise Lost playing more bijou venues, albeit gratifyingly packed with rabidly enthusiastic fans.
Young whippersnapper drummer Waltteri Väyrynen (he hadn’t been born when the band formed) has a kit so gargantuan that it swallows much of the Thekla’s stage, so poor old rhythm guitarist Aaron Aedy is obliged to stand behind a speaker for much of the gig and could be forgiven for thinking that it’s hardly worth emerging from the dressing room. Opening song From the Gallows from new album Medusa reminds us that Paradise Lost have gone full circle of late, re-embracing their doomy roots with frontman Nick Holmes giving it the full growl.
But we’re never too far from an old fan favourite. Hallowed Land from 1995’s Draconian Times and the title track from the breakthrough One Second album both showcase the doomy yet melodic goth approach that defined a genre. That said, this is not just a nostalgiafest: the title track from Medusa really comes alive on stage, with a scorching solo by Gregor Mackintosh. Perhaps it’s his time spent with Väyrynen in side project Vallenfyre – the drollest death metal act you’ll ever see – that has caused Paradise Lost to confound expectations by getting heavier as they get older. It may not be unconnected that Mackintosh’s amp blows up mid-set, prompting much scurrying around to get the show back on track while Holmes fends off good-natured heckles.
is needed now More than ever
Their swift recovery concludes with what many of us consider to be peak Paradise Lost: the haunting, crushingly heavy Embers Fire. They’re hauled back for a three-song encore including The Longest Winter, which might have fitted better in the main set and leads to a slight loss of momentum as we grow impatient for the inevitable, deliriously received Say Just Words – the closest these pioneers ever got to a hit.
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