Plus, at that time, Matt, our drummer couldn’t play fast anyway, so we were kind of restricted even if we wanted to play fast. We thought we could try and capture that element and put it in with the kind of noise stuff that we did. On the early records, they kind of captured a real sort of depressive gothic sound, and we really liked that. Nick Holmes: Around the time of Lost Paradise, the Sisters of Mercy were pretty big in England, and I liked the sound they were doing. So, with Gothic we wanted to make it sound more like the demo, but we’d also been listening to the Reptile House-era Sisters of Mercy stuff, and bands like Trouble, as well as all the tape-trading death metal stuff, and wanted to bring in some new elements. We thought the Frozen Illusion demo was better than the first album. Our first album, Lost Paradise, didn’t really sound how we wanted it to sound. We’d play gigs and people would shout, “Play a fast one” and so, of course, we’d play an even slower one. Greg Mackintosh: In those days it was the grind scene, so we were playing with bands like Extreme Noise Terror and Napalm Death and Carcass, and we were the only slow band around from that scene. What was the general feeling within the band around the time you were writing and recording for Gothic? We gathered the band’s original five members-vocalist Nick Holmes, bassist Steve Edmondson, drummer Matt Archer, and guitarists Greg Mackintosh and Aaron Aedy-to reflect on all things Gothic. ![]() In its wake, the Gothic album single-handedly opened the gates for countless trends within the metal world, which sought to incorporate melancholy and-above all-melody within heavier sounds. The album became an absolute cult classic, approaching religious stature by countless underground fans and bands alike. Gothic, released through Peaceville Records in 1991, stunned headbangers everywhere with a dark, innovative sound that seized listeners within seconds of dropping the needle onto the opening track. gothic scene, the band emerged with a monolithic slab of metal unlike anything the underground had ever heard. Marrying the grittier sound of the down-tuned, death-doom heaviness of their 1989 demo Frozen Illusion with the icy majesty of the early ’80s U.K. death metal and grindcore, five lads from the grim North were feverishly gathering songs and ideas for the follow-up to their doom-laden debut album, Lost Paradise. Amid the cacophony of blast beats echoing from the speed-obsessed world of U.K. ![]() ![]() So today we fanaticize that we’re stuffed in a corner table at the Frog & Toad while we raise a piss-warm pint and toast one of the true miracles of metal creation. After appearing in our long-sold-out June 2005 issue, Scott Koerber’s piece later resurfaced in our equally long-sold-out Precious Metal Hall of Fame anthology, but has been unavailable to read since. And since we can’t join our miserable friends from the grim north to party, Decibel is celebrating the best way we know how-by sharing our Gothic Hall of Fame induction story from way back in Issue No. Happy 30th birthday to the king the mac daddy the muthafuckin’ GOAT! On this day back in 1991, Paradise Lost changed extreme music forever with the release of their second LP, the legendary Gothic.
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