The birth of a hero

Charles Michael ”Chuck” Schuldiner was born on May 13 of 1967 on Long Island of New York in the United States Of America. His father was Jewish with an Austrian origin and his mother was from the American South, rather keen on Judaism as well. His bigger brother Frank died at the early age of 16, a hit under the belt for young Chuck which hardly got over until the end of his own life as well. He also had a sister named Bethanne. His parents considered on buying him a guitar to ease his grief for his brother’s loss. It seemed that this was not the right treatment, as Chuck didn’t really like the stuff he was being taught and he quickly quit the lessons. He was a child that wanted to do his own thing from the very beginning and that’s something he kept through the years to come. Until the day when he was being given his first electric guitar. That was it. The youngster finally found what he thought was appropriate for him and started practicing as much as he could, especially when he got his first amps he would play for hours, when given space for it, because of his school duties.

Loving the electric guitar, influences, forming Death

Despite being always a clever child, he was never the type of guy who loved school, which later also quit, as he found no interest on it, being rather born of the education he was given. After many years he regreted this decision but never regreted the efforts he made to achieve all of dreams.Chuck was very much into the NWOBHM (New Wave Of British Heavy Metal) scene. However, his taste in music was never limited and he found many bands to accompany him to his early style of playing. Kiss was definitely one of them, then came bands like Iron Maiden, Judas Priest or Saxon and artists like Billy Idol to gain his interest. The fire was lit and Chuck’s ongoing discoveries lead to the French band Sortilege from Paris to become his favourite one. Later on, his taste in music became more extreme and then came Slayer, Possessed, Metallica and Mercyful Fate in which he owes a lot for making his band Death sounding the way it did. Death were founded in 1983 in their first form under the name of Mantas, but later, to avoid confusion with Venom’s guitarist (another band that inspired Chuck a lot). He also contributed as a second guitarist for the Canadian thrashers Slaughter in 1986 when Death were on a little hiatus, but this cooperation didn’t last long.

Gory beginning, promising debut

In his musical career, he never wanted to do the same thing again. That’s why the music of Death would evolve from album to album in all the forms Chuck would consider accessible. On May 25th 1987, the first album of Death, ”Scream Bloody Gore” was released. It was recorded twice due to the crappy sound of the initial recording, producer Randy Burns managed to save Chuck and his partner Chris Reifert (who later became the mastermind of death metal pioneers Autopsy). Chuck played also the bass on this recording, together with all guitars, rhythm and lead. Chris played the drums (he had joined earlier for the ”Mutilation” demo) and the album got tremendous reviews. Nothing like this was heard before and it is considered to be the first real death metal album, that’s also why Chuck was named ”The Godfather of death metal” since then, though he would always insist that he was just doing his own thing. At times, he would become angry about it and state that Possessed should get all the recognition about death metal with the release of their landmark album ”Seven Churches” back in 1985.

The trademark death metal album which everyone still tries to reproduce

It was time for evolution though and Chuck knew very well what to do. The next year, he releases ”Leprosy” on November 16th, 1988 with the help of his old partner in Mantas Rick Rozz (full name Frederick DeLillo) on the guitars and Bill Andrews on drums. Chuck played the bass on the recording again but was not credited for it. The credit instead went to Terry Butler who filled the line-up. Far away from the aesthetics of ”Scream Bloody Gore”, the new album was many steps forward and until today, defines the whole death metal genre. In my personal opinion, ”Leprosy” is for death metal what ”Hell Awaits” is for thrash metal, simply the album that all future attempts of bands were based in order to create something so unique (with the exception of very few bands like Morbid Angel or Obituary for example). Chuck quit the gory lyrics and decided to write about stuff that make people think a bit. ”Pull The Plug” which is the most characteristic song of the band until today, talks about a man held in life by mechanical support and his choice to die, for not suffering any more. It was clear that Death was not just an ordinary band and Chuck surely was not just an ordinary guitarist and vocalist, but a man with vision and he would never throw his own group into the trap of repetition.

And so came spiritual maturity

Work continued, the Death machine seemed unstoppable and despite another line-up change, with Rozz being fired in 1989 and James Murphy, another young and promising guitarist, joined the band. The third and crucial album ”Spiritual Healing” was released on February 16th, 1990. The album of Death’s maturity for sure, where the sound cleans a lot but extremity remains. Having a more skilled guitar player than Rozz, Schuldiner writes some of the best compositions of his life and especially the solos of the album seem like a battle between Chuck and James (”Low Life” should be taught on universities about how to create a solid riffed song accompanied by insane perfect solos). Chuck expresses his worries once again with tracks like ”Living Monstrosity” which is totally against drugs or ”Altering The Future”, an anti-abortion song. The young naive Chuck and Death had really grown up and the album sold thousands of copies. That was the last album to feature Ed Repka on Death’s covers and the last albums with a steady line-up. Chuck refused to go on tour and the rest of the members went on tour with Kreator in Europe without him. Chuck didn’t want the band to tour over Europe because of a bad memory of his previous European gigs. He felt it wouldn’t be organised properly. Add the fact that he had his personal issues back then and here’s the end of Death’s full line-ups. Chuck totally fed up by this fact would only hire session musicians in the future,

Changes and a revengeful statement that seemed everything but human

That’s why his next album ”Human” was stated as a statement and a revenge for him. He would also say ‘’support music, not rumours” on the booklet of the album, because of the many negative rumours his name would undergo through, mainly about this last incident inside the band. With the help of the Cynic members Paul Masvidal on guitars and Sean Reinert on drums, and the great Steve DiGiorgio on bass, a member of thrashers Sadus who had also played with Chris Reifert on Autopsy. ”Human” was released on October 22nd, 1991 and is the album of perfect balance for Chuck and Death. Sounding fresh, aggressive, hyper-technical and with the best vocals he ever did, it seemed that enabled their leader to start his career over at a very critical point. Death were more alive than ever and only positive outcome could Chuck bring upon himself and his fans as well. Scott Carino replaced DiGiorgio for the upcoming ”InHuman Tour” and also, a compilation album called ”Fate” (ironically tragic, right?) followed the next year. It was time for radical changes inside the band and Chuck would never stop surprising his fans. The first video of the band was filmed for the legendary ”Lack Of Comprehension”. It still remains Death’s best selling album with over half a million copies being sold.

Food for thought

After a very successful tour, Death released their fifth album ”Individual Thought Patterns” on June 22nd, 1993. Chuck’s favourite album by far, with the help of ex-Dark Angel drumming phenomenon Gene Hoglan, Steve DiGiorgio on bass again (maybe the best rhythm section in the history of metal music) and King Diamond guitarist Andy LaRocque. Chuck would describe this line up as gifted musicians that fill a great chemistry and the mood of the recordings was filled with fun. This is where Chuck reveals his Watchtower and Queensryche influences more than ever, as we are talking about a progressive death metal masterpiece. It was then when he started thinking about having a project in the future where he would just play guitar and have a high-pitched vocalist in the veins of Rob Halford, creating a traditional metal album with a progressive touch on it. ITP remains until today a state of the art creation and is the influential point for today’s bands like Obscura for example. A video for the last track of the album ”The Philosopher” was also filmed, making it the second and last official video of the band. They would tour for the album with Ralph Santolla and Craig Locicero of Forbidden on guitars.

Symbols sometimes tell nothing but the truth

Chuck took part on the 1994 release of the supergroup Voodoocult on their first album ”Jesus Killing Machine” by contributing some solos on the tracks ”Birn Bad And Sliced” and ”Voodoocult”, an album also featuring Dave Lombardo of Slayer on drums and Waldemar Sorychta (ex-Despair, ex-Grip Inc, Enemy Of The Sun, great producer as well) on guitars.Musical search continued also on the next challenging album ”Symbolic” which was released on March 21st, 1995. With Gene Hoglan once again on drums and with Kelly Conlon on bass and Bobby Koelble on guitars, this album is characterized by the maelstrom of riffs it contains and also the big change in Chuck’s vocal style, where he attempted a less brutal and more screaming high-pitched style which would develop on the next album as well. Steve DiGiorgio was supposed to be the bass player for the album again, but this finally didn’t happen, causing a big argument between the two friends which was quickly solved. ”Symbolic” is the album on which many fans got to know Death and is still one of the most favourites. Chuck includes many acoustic guitar parts inside the album and for the first time maybe, fans started to understand that he had a lot more to give as a musician. Even die-hard death metal fans, recognize this album as something very unique and not even the longer duration of many songs compared to the past, was an obstacle to make the world press give praises to the band. And then comes a hiatus for the band, as Chuck decided to split the band, only to reform them some years later.

The sound of what was in Chuck’s mind for ages

The reason was that Chuck was craving to do the traditional metal project mentioned above. The new band’s name would be Control Denied and it was a dream to come true for Chuck. The working title for the band’s first album was ”A Moment Of Clarity” and Warrel Dane of Nevermore (Sanctuary as well), the band that accompanied Death on the ”Symbolic” tour, would be the singer. But this finally never happened and Chuck felt it was time to ressurect Death for a final album before going on with Control Denied. The final Death album ”The Sound Of Perseverance” would be released on August 31st, 1998 and would feature some songs that were supposed to be on the Control Denied album. Another great album for the band, the perfect way to close a legendary chapter, with Chuck’s vocals even more high-pitched, and with an amazing cover of Judas Priest’s ”Painkiller” included. Accompanied by guitarist Shannon Hamm, bassist Scott Clendenin (instead of Steve DiGiorgio which was supposed to participate on the album again) and drummer Richard Christy, Chuck unleashed his final Death attack which caught all listeners by suprise. A final tour would follow and so ended the Death chapter in its most glorious way.

Control Denied, but not life denied…yet

But Chuck didn’t have any time or room for thought. He was 100% given to release the Control Denied album. On his 32nd birthday, on May 13th, 1999, ”The Fragile Art Of Existence was released and it was time to enjoy Chuck as a composer only, as Tim Aymar handled the vocals, Steve DiGiorgio the bass (finally after two failed attempts in the past) and his partners on the last Death album, Shannon Hamm on guitars and Richard Christy. The most different and most special album Chuck ever released was finally over and listening to it, we can understand why Chuck wanted to fulfill this dream for almost a decade. Imagine the most heavy progressively extreme album with clean vocals you can think of, maybe you won’t even reach the variety of this album. The last baby Chuck gave birth so far was about to become the starting point of new explorations in the whole metal scene, as Chuck once did with Death very successfully. But it’s many times in life where things don’t come as we want them and during the recordings of this album Chuck started feeling pain in his neck. What was thought to be a damaged nerve, proved to be a tumor. The diagnosis’ result was he had a pontine glioma, a type of a brain cancer that invades the brainstem, the part where the lower brain part connects with the spinal cord.

The hard struggle and the metal community’s help

Chuck had to immediately start chemotherapy and a few months later, on October, the good news were that the tumor was not threatening any more. A little later, on January of 2000, Chuck successfully went through surgery and the good news spread all over the world. However, it was a very expensive operation, which made the whole Schuldiner family struggle financialy. Numerous fans and known musicians managed to help Chuck through his fight with fate, by raising funds, auctioning stuff on E-bay and everywhere possible, concerts were being held for money to be collected, and in general, the whole metal community stood by his side as much as possible. Chuck’s adventure intrigued the whole world and after his first meeting with death, he could be able to continue on what he loved most, writing and playing music. Unfortunately, in 2001 the cancer came back and Chuck’s organism suffered once again. The cost of a new operation would be very expensive and Chuck first denied the operation because there were no money. Artists such as Anthrax, Ozzy Osbourne, Napalm Death, Dave Grohl (ex-Nirvana drummer, he wanted Chuck to take part in his Probot project), Kid Rock, Red Hot Chili Peppers and many others, did the best they could with the help of MTV to collect money for Chuck by auctioning valuable stuff. Also, Trivium played a beneficiary gig when they started their career, and the money went for Chuck’s help.

Death is never fair

Unfortunately Chuck was weakened through all these chemotherapies and he got ill with pneumonia. Especially on November of 2001 his condition got much worse and he finally lost the battle of life on Thursday, Decembert 13th at 4 A.M. His loss spread grief and pain through the whole music scene. Few could believe that such a charismatic person would exist no more, metal fans suffered a preemptive strike and the feeling of injustice was raised on all topics concerning him. His body was cremated and his memorial was attended by all the members included on Death and Control Denied, as well as musicians with the heavy name of Dimebag Darrell (who also passed away on December 8th, 2004), Mike Patton, Max Cavalera, Trey Azagthoth, Glen Benton, King Diamond, Ville Valo and many others. We cannot predict what Chuck would do if he had lived, but we can assume that whatever he would decide, he would have thought of it very thoroughly, as he was very demanding for his material, some people say that he was the definition of the word perfectionist, despite being very open-minded and always ready to discuss about stuff concerning music.

A person full of life with a band named Death

As a person, Chuck was always a very positive man. He loved animals very much, that’s why he considered his two dogs like brothers. He was a very caring person that had a lust for life. He once stated that he would love to live forever if possible. There were times when his smile would simply leave you unable to say or do anything. There were also times when he would insist on some things, maybe in a very persuasive way. But that was Chuck. A man always believing in his skills, without offending others. His advice to younger people that started music was always train, practice and never take things for granted. Out of personal experience, I can tell you all than when he came to Greece, he couldn’t believe his eyes with the welcome he had. People would tell him he’s a god among humans and Chuck would answer that he’s just a fan like all of us. That night on the legendary Wizard Club, where he saw his face being sketched on one of the club’s walls and the Wizard logo on the pit place designed with the Death logo style, his smile was brighter than ever. He didn’t refuse to sign to anyone, he stayed until very late at night, it almost got morning when he left and he told us he would see us on the venue the following day. Before and after the show he did the same thing again, he came as close as he could with the fans and what amazed us all was his sincere statement that if he knew what welcome he would have, it wouldn’t take him so much years to come to Greece. I still remember your promise that we’d meet again. There’s no hard feelings because I know you meant it. It was just not up to you any more. I hope I’ll see you somewhere else, in a surely better place than this. As he would always say, ”let the metal flow”. I shall live the final words to him, as he stated in the final lines of ”Believe” by Control Denied’s ”The Fragile Art Of Existence”:

If I was paid for disappointments I would be a wealthy man
The magic lives in sincerity, in truth, behind the
thoughts I choose to stand…
Awaiting discovery…

Aggelos “Redneck” Katsouras

Under The Lights Where We Stand Tall, Nobody Touches Us At All

It was the 24th of July in 1990, when music history as we know it right now, changed for good. It was the time when the former glam metal band called Pantera, decided to unleash the album that made them one of the most respected acts of all times. And it is not only the change of their style that brought surprise, but also the feeling that something so fresh emerged from Texas to bring the musical revolution, regarding not only heavy metal, but music in general. I can really only imagine the faces of all those who were listening to this for the first time. They must have felt as if a massive vehicle crushed them to the ground but didn’t kill them, just leave them unable to do or say anything understandable.

What the fuck was that anyway? How did we come to this? Who was that muscled singer with the mohican look and the certainty along with iron will to soon become the epitome of a monstrous frontman? Why were the riffs of the goat-bearded guitarist so heavy and whistling? How could he produce such a gigantic sound? And this rhythm section… This skinny bass player with his hair always covering his face because of the constant headbanging, accompanied by the unbelievable foot technique of the chumpy drummer, felt like they could move everything still to any direction. This quartet was destined to become the driving force of all heavy metal for the next 14 years, just because they could, just because they were born ready for this, and of course, because they had the skills and guts to prove it through the years.

Showdown, Shootout, Spread Fear, Within, Without

Yes, Pantera had released four albums before ”Cowboys From Hell”. But for the band and their fans, this will always be their ‘debut’ album. The birth of something that inspired future generations, especially in attitude. Because Pantera were something more than music, and this started showing from that point and on. Be it ignorance of danger or just the fact that they got pissed off with the whole music industry back then, they made this album first for themselves and then for the fans. Because they always believed in the bond between artist and fans. Since their new direction was something that satisfied them, none could get in their way. The big question ”Who the hell are these people?” that rose when the title track’s video clip was constantly played on MTV, just made things easier for them. The course was already set.

Their rumour was constantly growing, the highest point was their live appearances, where everything you listen to the album, was becoming even heavier and larger in form while watching them from close distance. The frenzy behind Pantera took gargantuan size and soon the whole world was at their feet. The highlights of all this was that they were included in the slot of Judas Priest ”Painkiller” tour, alongside Canadian metal masters Annihilator. And believe it or not, few were the times that they didn’t steal all attraction, even from the metal gods Judas Priest. The fact that Rob Halford tried to produce something like Pantera with his project Fight, after leaving Priest, can’t be hidden. The rumour that he was seeing Philip Anselmo more as a ”friend”, raised even more the group’s status.

We’re Taking Over This Town

Let’s stay on the album itself, as this is the main reason of this article. First of all, praises must be given to the producer Terry Date who unofficially, could be called the fifth member of the band. He managed to give an amazing sound to the album, by also taking 100% of each member’s skills and talent. This is clearly put to the album, which was recorded at The Sound Lab, located in Irving of Texas. With its duration being more than 57 minutes long, the big bet was ready to roll the ears of unsuspected listeners. The guitar sound of Diamond Darrell (before becoming Dimebag) was something pouring out of the glory days of Metallica, but even more twisted and heavy. If you put a little Exhorder groove metal dose, the recipe of world domination is ready and all you have to do is just sit, wait and then enjoy.

But the other wild card of the album was undoubtedly Philip Anselmo. Furious, neurotic, horny as hell and above all, aware of what the band was doing, he spit every lyric of the album with profound convincing ways. His presence on the scene during the tour is still commented after two decades. How couldn’t he be acknowledged for that, since all he was representing, alongside the other three companions, was a mass of relentless energy, driven by a lunatic feeling of giving blood, guts and sweat every night in every place they could play. Not bad for a former boxer who joined the band in the previous album called ”Power Metal”. He is considered as the main responsible of the group’s musical change. Not that it matters much, or if we ever really know. But just in case, let’s mention it to be left out of unnecessary doubts.

You See Us Comin’ And You All Together Run For Cover

Combining the energy of thrash metal and with a very bright look to the future, ”Cowboys From Hell” stands out until today as the landmark of ’90s metal. It is not the best Pantera album (that is ”Vulgar Display Of Power”). It is not the heaviest Pantera album (that is ”Far Beyond Driven). It is not the most angry and brutal Pantera album (that is ”The Great Southern Trendkill). And it is not the most mature Pantera album (that is ”Reinventing The Steel”). But it sure was, is and will always be the most important. Not only because through the years it proved to be the salvation of all heavy metal and because Pantera brought many fans to extreme music. But mainly because everyone and everything inspired by the band, owe a big thanks to this release. In terms of music, feeling and above all: ATTITUDE!

”Cowboys From Hell” has reached number 27 on Top Heatseekers in 1992. It must have overcome 2 million record sales by far, it has been already certified double platinum, it has been voted among the best and most influential albums of all time. It is the album that made them play in Monsters Of Rock in Moscow in a gigantic crowd of more than half a million people. It is the album that created the CFH acronym, which Anselmo has tattoed in his head and many fans have marked it on their bodies since then. It is the album that saw three singles becoming large, the title track, ”Cemetary Gates” and ”Psycho Holiday”. It is the album that started the revolution and it is the album that no matter the taste in music, everyone respects and has something to say about. What else could you be asking for?

Track By Track:

01. Cowboys From Hell
The title track of the album is nothing less than a statement on behalf of the band. It’s like saying ”we’re here and we came to stay, so everyone and everything in our way…back off!”. The lyrics show nothing more than self esteem and the feeling that those kids knew what they created. Yes, it is also a reference to their Texas origin, home of all brave cowboys of the past. And it also could be the statement that they came to raise hell. You know what? They certainly did. The initial whistle of the main riff always brings yells to every place it’s played, and despite the fact Pantera have many great songs and much better than this one, it will always be a song you can’t help dealing with.

02. Primal Concrete Sledge
Rough and raw. Short and full of hate. Violent and without any sort of emotion. Two minutes of riffs that could make a whole discography of a new born group. The song that Dimebag rapes his six string without condom and the guitar not only doesn’t complain, but also craves for more. Anselmo is unleashed and the vocal melody follows the diverse riffing and the insane drum playing. The break after the second verse and before the solo is orgasm itself. The Aeolian winds are free and blessed be the ones left on the wake of the tide it creates.

03. Psycho Holiday
One of my personal favorites and maybe the best riff on the whole album. The initial sound is not gunfire but Vinnie Paul torturing the skins of his drumset and hitting as hard as he can. Anselmo shows that he can not only be aggressive but also have some high pitched moments full of quality. It was picked as one of the album’s singles and it proved to be a live classic back then. Pure energy and sonic pandemonium. The band at its best. Psycho you said? Does it really matter? Not if you put your head down and do what you HAVE to. Close your eyes and the riff will make things easier.

04. Heresy
This is the answer to all critics and haters that Pantera are not a group whose new direction’s origins lie on thrash metal. Tell me how many bands could write such a song and then we can sit back and relax about the rest. The song grows as it flows, relentless riffing by Darrell, continual changes from fast to slow and slow to fast. The part after the solo wakes up the dead and makes them conquer the living. Honesty, born in me… The lyric that sums up what Pantera represented back then. Because what they did was honesty itself. It takes guts to be different. Can you take it?

05. Cemetary Gates
A ballad? Not quite! This is the emotional song the Pantera way. Probably the favourite track of the album for most fans. A seven minute opus starting with a brilliant acoustic intro and Anselmo providing a mature performance. The outburst after the initial shock brings one of the most trademarked Pantera riffs. That whistle and lead haunts many fans until today. I guess that everyone that listens to this for the first time, will remember it for the rest of his life. The screams of Anselmo at the end bring chills upon your spine. Covered even by Dream Theater, one of the best songs in history of music.

06. Domination
Truth be told, Pantera dominated planet Earth with such an ease that many people would be jealous about (and still are until today). After Vinnie giving the signal at the beginning, Darrell opens the box of riffs and puts a ton of them on this one. Breaks, speed and above all: THE riff after the middle of the song. The part that the whole band played while jumping to the height of God and the fans were unable to hold the fury inside them and made them want to kill the person next to them. Even if it was a friend of theirs. Also covered by many bands, including also Apocalyptica. Who said that cello players aren’t metal fans enough?

07. Shattered
This is the song where Anselmo takes over everything. Hellish playing by the rest but Philip owns the song from the very beginning. Convincing in every lyric, with some of the best lyrics he ever wrote, he is the driving force to this one. The shortest song after ”Primal Concrete Sledge” but also very full of quality. It used to be also one of the live classics of the old era with stagedives following one another. A great example of the changes that Pantera brought to the whole scene. Dig it anytime, it still sounds like it was released… tomorrow!

08. Clash With Reality
The meaning of groove metal is hidden behind the notes of this song. They have been accused many times of not being ‘metal’ enough. Yeah right, this is a song for rappers and emo fans after all, isn’t it? Let’s be serious for a moment and just witness the power of this one. Slow but also huge in form, it showcases the fact that Dimebag still is one of the best guitar players of all time and mainly, the fact that he is the responsible for the ressurection and renewal of all metal scene on the ’90s decade.

09. Medicine Man
Awkward but still crushing, ”Medicine Man” is also another groovy one that slows the tempo of the album as much as it can. After the assault of all previous tracks, this one is put in order to make the listener relax (!!!???) a while, before untying his ponytail for the hundredth time and making his neck seem more like a windmill than a part of his body. Again Anselmo is the leading figure in this one, spitting venom in each opening of his mouth. Add some screams from outer space and you’ve got what you’ve been asking for.

10. Message In Blood
For sure the strangest song in the album. That doesn’t mean it doesn’t stand out equal to the rest eleven tracks. Here the rhythm section of Vinnie Paul and Rex Brown does miracles, the sound is so clear and somewhere here is where you understand the width of Terry Date’s production. Pantera sound like a Swiss clock that doesn’t lack the simpliest second. Punctual and ready for everything, they make you proud as their fan as the album is about to end.

11. The Sleep
Starting also with an acoustic intro, just as ”Cemetary Gates” does, it is the calm before the storm at the end of this album. The huge riff that follows creeps like a rattle in the desert, ready anytime to stalk his victims and make them preys instead of hunters. Anselmo and Dimebag in perfect culmination, leaving space for each other where needed. An amazing solo takes place, making us wonder where this guy came from and also, why he is not still with us and he left so unfairly.

12. The Art Of Shredding
Last but not least, as Americans say, this track is the ideal to close the album with its bass intro and the doublebass of Vinnie Paul showing that if you have skills apart from talent, everything can happen. A fast one after some mid tempos, it comes right at the point where someone not familiar with the band, could get a little bored. Anselmo explains how his presence shreds everything in his way and Pantera’s world domination is reality after that. Not bad for a quartet of ex-glam metallers, right?

Dedicated in memory of Darrell Lance Abott, also known as Dimebag or Diamond Darrell (August 20, 1966 – December 8, 2004). You are so sorely missed!

Aggelos “Redneck” Katsouras.

Thank God, we’ve done it! Although we are late a little bit, the big tribute to the 00’s decade that we have promised is finally on air and we hope that you are gonna like it. What follows is the best 50 albums from 2000 to 2009 that set off from Metalpaths’ editors. To the next part of the tribute you’ll find out an examination of 00’s year by year with the most important facts that happened around metal’s world. Last but not least, seven musicians of different metal bands leave their comments for the 00’s decade.  Observe…

The tribute is kindly sponsored by:

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00’s Tribute Part 2: Year By Year & Musician’s Corner >

Some of the names given at times to this band…Let see what hides beyond their name and the credits given to them…

Formed back in 1988 at Halifax/ West Yorkshire, England by Gregory Mackintosh (lead guitars), Aaron Aedy (rhythm guitars), Mathew Archer (drums) and Nick Holmes (bass/vocals). After just a few rehearsals, they realized Nick should concentrate only on vocals and Steven Edmondson joined them to handle the bass, without even knowing if he could play at all. It was the time of a weird music genre evolution. Many bands, that tried to pull the limits of extreme music, combined fast speed tempo songs with extreme guitar themes and grunting vocals-it was later defined as grind death metal- and Paradise Lost stated out as one band of this genre.

After a few thoughts though, and being influenced both by the fast extreme music (Kreator, Celtic Frost, Morbid Angel, Death, Autopsy)  and the slow extreme music music (with bands such as Candlemass, Trouble etc.) that had been going on at that time, they started to write their songs using slow tempos but with the intensity of death metal guitar themes and grunting vocals. It was really something never heard before at that time.

Trying to achieve recognition and a record deal, they record two demo tapes “Paradise Lost” demo and “Frozen Illusion” demo and despite the really bad sound and performance recorded  at both demos, the songs convinced some people and the band finally made a record deal with  Peaceville Records.

Recorded at The Academy and released by Peaceville / Vile Music in 1990 “Lost Paradise” was probably the first record of doom death metal. Slow tempos , grunting vocals, a few fast death metal breaks, obscure lyrics and muddy “Celtic Frost” mood, all mixed up to show the path to many bands later on. Sounding rather bad, was something the band even now makes fun of.

Lost Paradise:

The big word was not yet told though… and just one year later, the band decided to take a big step. With full confidence, and their urge to give the audience something that hadn’t been heard before, Paradise Lost change their composition style and eventually their music, into a rather simpler style than the Doom Death metal of “Lost Paradise” , but also as innovating as their debute.

Recorded once again at The Academy studio and released in 1991 by Peaceville/ Vile Music “Gothic” was about to shake all current waves in extreme music, with its sound being so original and far ahead of its time…

Gothic:

Keeping their sound at a mid tempo standard, Paradise Lost use on “Gothic” their roots of death metal attitude, enriched with the exceptional use of string arrangements, performed by the “The Raptured Symphony Orchestra” and some female vocals at several points in the album, performed by Sarah Marrion. And it was not only these, that made the album unique and innovative, it was also the fact that Gregory Mackintosh -as being the main music composer- let himself loose, to show his other main influences, from bands of the gothic movement of ‘80s. Bands like Sisters of mercy, Fields of the Nephilim, Bauhaus etc. were filtered through the death metal riffing, the grunting vocals/ lyrics and the low tuned distorted guitars and mixed down to an album, refreshing the sound of metal music in general.

Die-hard death metal fans, would put it to fire thus guitar melodies started to appear, melodic guitar solos and bridges also appeared. Finally, for the first time some deep down “gothic” style vocals appeared on a metal album. Paradise Lost really pulled the limits of extreme music on this release. A thing that afterwards was to happen many times, and almost at their every release that followed… “Gothic” was though, the most monumental of all their innovations, because it opened the minds and the boarders for many musicians and bands. It can be easily said that “Gothic” really gave birth to what people refer to as “gothic metal genre” although the recognition came years later…

Having released two different albums the band gained attention from big record labels and it was time for them to move on and sign a contract with Music For Nations. It is the year 1992 and “Shades of God” sees the light of day. Recorded at Longhome studios and released by Music For Nations.

Shades Of God:

“Shades Of God“ introduces yet another face of Paradise Lost. The mid tempos are here once again, but the song-writing approach has changed once again. A more sharp heavy doom metal style is introduced. Sabbath influenced riffs filtered through the prism of the “Gothic” album. The death metal tag almost disappears from the songs, and that’s mostly because, “Shades Of God” is the first album, Nick Holmes abandons death metal grunts and screams and starts using a somehow aggressive clean vocal approach. Guitar solos and the sound in general is well improved. It’s the first record of Paradise Lost, with a good sound quality, as long as the mix is considered.

With “Shades Of God”, Paradise Lost started gaining press attention and with the help of two videos, that were made for songs “Pity the Sadness” and the all time classic “As I Die”, the band got access to mainstream audience, and so their name was getting bigger day by day. Everything, once again, was changed and so did the previous logo, which does not appear on the cover work. Now all was set up for the first “big” record, which is no other than “Icon”, that comes next and opens a new era for the band…

Icon:

So here they are once again. It’s 1993 and Paradise Lost release their fourth album “Icon”.. The first record with the new -classic- logo and the first with the “crown of thorns” scheme “Icon” really came to shake the seas of metal music industry…

Recorded at Jacobs Studios, Surrey with Simon Efemey as a producer, this album was bound to succeed. The style of the songs changes once more. Easy listening refrains, heavy riffs, strong orchestration and intense melodies construct a perfect background of pessimism which with the help of  Holmes’ lyrics give flesh and bone to a new music genre that was about to evolve. Gothic Metal was born with this album here and if not so, you can find it here at it’s best…

Mid tempo in its entirety, the album has some of  Paradise Lost’ s highlight songs, that guided and showed the way, to many bands that followed, on how Gothic Metal should sound like. ”Embers Fire”, “True Belief”, “Widow”, “Dying Freedom”, “Weeping Words” and “Christendom” are here in this album.

The sound of the album also contributes to the outcome and the feeling the compositions themselves. The production and the sound fits so much the songs and the collaboration with Simon Efemey surely gave Paradise Lost their sound and recognition they deserved. Having three new videos coming out for this album, for songs “Embers Fire”, ”Widow”, “True Belief”, and with even more presence to the music television Paradise Lost really start to stand out as “The New Metallica”, as the universal press of that time called them way back then. More was yet to come, but this album  established an identity and recognition, which surely introduced us to the Paradise Lost sound. This sound went on, for albums that followed. Went out and returned and so it did to their next one.. their magnum opus “Draconian Times”.

Draconian Times:

Two years after the release of “Icon”, their strongest record till then, Paradise Lost release “draconian times” on June 12, 1995. Recorded at the Great Linford Manor and Ridge Farm Studios, England. The band makes its strongest effort to date and everything here really reaches pick. With their first line up change after years drummer Matt Archer is replaced by Lee Morris and the band rolls as a big hit single production machine. It’s the first time, and probably the last, that the credits of the songwriting go out for everyone in the band and not only Mackintosh/Holmes.

Every song on this record could be described more than everlasting. There are few records that once you start listening to you can’t stop them in the middle. One of these records is “draconian times”. A record full of great songs, great atmosphere, proper mood and proper lyrics that not only exist as lines, but contribute to music as well. “Draconian times” wouldn’t have that sense, if not for the lyrics as much as for the perfect pieces of music, that combined gave this awesome outcome.

Another helping hand given by the artwork that was used perfectly matching the mood and the atmosphere of the songs. As for the sound here Paradise Lost gave us another point of how important is for a record to sound clear and with good production  in order to achieve its goal. Talking about “draconian times” one can say that it’s amongst the ten strongest and most influential releases of the ‘90s…Truly a masterpiece and their ultimate release.

One Second:

Following a quite same path on “Icon” and “draconian times” and reaching pick on touring and sales it was time for rearrangements and changes. On  July 14, 1997 “One Second” is on stores. Considered as the follow up of their previous successful and monumental releases, Paradise Lost decide to change directions and introduce new elements to their music. Loops and electronic sounds are taking a vast place in the overall sound of the band. Also, on this record, we can hear Nick Holmes actually singing with his deep voice, in melodic paths exclusively. No growls not even his characteristic Nick Holmes vocal anger. Also, not guitar oriented songs, simple drum patterns and quite simple songs, almost without guitar solos and not even sounding as heavy as in the past. Just beautiful melodic and pleasant refrains with some pop glimpse, in simple song structures and sometimes some major melodies, that really confused their fans, at that time and actually divided them.

In accordance with this vast change on sound, Paradise Lost change their looks as well. Having short haircut for the first time, the world faces a new dilemma. Have Paradise Lost been sold out to the record companies wills? Or is this just another way of expression by the same people? The answer came with their next release… The controversial “Host”…

Host:

Released two years later on May 21, 1999 Paradise Lost this tame take their most outstanding and bizarre change on sound throughout their entire carrier to date.

“Host” is a record based on electronic drum loops without guitars at all, but only on electronic sounds and synth bass lines…And of course beautiful confusing melodic lines sang by Nick Holmes’ alter ego -his sensitive melodic voice- …If “One Second” gave a big strike on everyone’s stomach “Host” really knocked out everyone that hoped for a fast recovery back to the old sound.

A big bet, I think, the band gave to themselves, in terms of how far they can go. Confusing everyone, the band that once was admired for its chameleon character and changing on every record, now has made everyone change their minds about how open minded to changes a band can be. A bad release not welcome by the press not the fans at all… But where they able to find their way back on track? Their next step tried to help a bit, but as the title claims “Believe in nothing”…Until you hear it…

Believe In Nothing:

Released on 26 February 2001 “Believe In Nothing” is a return into a more rock approach of song writing. Rhythmic guitars in a  pop sense played with heavy Lost style. Really a short of return but as the band claimed even back then. The outcome was mixed without their presence. Although the songwriting has nothing to do with the band’s presence in the mixing room. The songs in here, try to be a bit more into the point, but once more as it seems it’s been a band period for the band. Also the drums mixed with drum loops returned but in the overall “Believe In Nothing” does not take any steps forward not even backwards.

Hopefully for everyone a much better release was to follow and stop the constant falling of a myth.

Symbol Of Life:

Here is the first real attempt of  Paradise Lost doing something that would have the approval of press and fans and radio…

Going on as if nothing can stop them Paradise Lost take their next step with “symbol of life” on 12 November 2002. Strong heavy production, a familiar mood in the likes of the past combined with all the elements that went into their sound the period from 1997 to 2001. Keeping their minds to a quite pop aesthetic, Paradise Lost start to gain attention to their name with this release, seeming as a phoenix rising back from its ashes. The guitars are back with a modern sound and the songwriting as well could be said to follow some modern version of what the band had in mind years ago. A very nice release after many years of controversy and style changes that led into nothing.. Believe it or not!!!! A big break was to follow though…Until the next step.

Paradise Lost:

The release of this album was a big bet for everyone. Recorded at Chapel Studios, Lincolnshire and Hollypark Lane, Los Angeles and released 3 years later on March 17, 2005. The band’s self titled record came to shake everyone’s minds once again…Simply called “Paradise Lost” this is a big return to a music field where we had forgotten Paradise Lost actually invented…and that is Gothic Metal!

Yes, this is the bands return to heavy songwriting and pure Paradise Lost mood…The solos return after many years. The songwriting is once again aggressive as does the sound and the drummer’s place is once again changed. Jeff singer takes Lee Morris’ place on drum kit after ten years. Double bass drums and aggressive Nick Holmes is back. An aggressive artwork is back to fit the songs and as with “One Second” the bands leaders Holmes/ Mackintosh decide to come back also in terms of looks having long hair again after 10 years. Not that the haircut is a sign of whatever though as the songs speak by themselves…Here we have the first hind and approval that this band really exists and has a lot to say to the years that are to come…

In Requiem:

And here we are with their complete resurrection…Recorded at The Chapel Studios, London and Strait Sound Studios, Gibson, Vancouver and released on May 21, 2007 the shock is almost immediate from the first song…

“In Requiem” is the ultimate comeback to their past. Having nothing to do with the previous releases, this record seems as if it had to be released after the band’s magnum opus…”Draconian Times”…Heavy songwriting, heavy guitars, heavy fast lead guitar solos, strong Metal production and guess what? Nick Holmes reminds himself he can be aggressive as hell….And he does this throughout the entire album…Pure Paradise Lost mood that brought them back to the metal audiences that wanted a sincere and conscious return to what they’ve been loved for…They vast and grand music intelligence of pure Gothic Metal played by its inventors back at its best!!! But are they to follow their own come back forever?

Faith Devides Us, Death Unites Us:

Latest release “Faith divides us, Death unites Us” proves that they surely are into this great return and even further trying to pull their own limits once again. Giving place to new structures and keeping the gloomy sound scapes going on, this release of September 2009 has not been tasted by time…The use of  7-strings guitars gave them an even more heavy sound, as so did the songwriting, reminding everyone an even more “back to the roots” record. Nick’s growls are somehow reappearing to this release even more angry and passionate. Although the difficult song structures not containing obvious refrains or not even being easy listening, puts them back to test…Time will really tell once again…

None knows what’s to come with this extraordinary band from Halifax!

Though they had made some awkward steps in the past, they never really disappointed anyone for real…So, we’ll let ourselves loose, to see what are they up to now and we’ll keep listening to what they’re offering, cause they do it better than anyone!!!

Andrew Koran.