Paradise Lost?

Paradise Lost. Even if we accept the Creation narrative or not, it is hard to doubt that greediness infected human knowledge makes our wonderful planet less and less liveable. According to the Bible, Eve ate the fruit from the tree of the knowledge of good and evil and was exiled from Eden, but she and Adam got a chance to build a Paradise on Earth. Atheists believe that there was no need for God to create the world since the universe can and will create itself from nothing by the law of gravity. No matter which creation theory we accept, the problem is given: humanity. A race that wants more and more and does not care about the consequences of its deeds. The admirable science extends our lifespan drastically, but it does not provide automatically sufficient circumstances for the elders. People surround themselves with fantastic objects, then throw them away when they get bored with them, or they became dysfunctional, and cannot comprehend why debris engulf its environment, why the natural waters became undrinkable, why he or she cannot breathe anymore.

Paradise Lost has created masterpieces about this lost game since 1998, about our morbid existence, about our internal torment, the way we drown in darkness. There are strong bonds, shared vision among singer Nick Holmes, guitarist Gregor Mackintosh, rhythm guitarist Aaron Aedy and bass player Stephen Edmondson; since their unit is indestructible, there were only changes in the drummer position in the past 33 years. They are consistent in the division of labor. Greg delivers the music, and Nick brings the lyrics in. They perfectly complement each other. It is impossible to decide which part magnetizes me stronger: the sweetly flowing poisonous melodies or the words evoking your deepest pains, the half-truths you scream into the face of the other or into the void when you are alone. Paradise Lost summons the demons of my life that I want to avoid as much as possible. In the same breath, their magical melodies give strength to face these monsters. And Nick gives us essential viaticum for our journey. He sings about things we must not forget.

“It’s mercy you’re asking for
Cheating life by taking more”

Aside from the unforgettable songs, this great British ensemble gave something inconceivable for me living in the box called metal for years. Freedom. They were brave enough to change their approach from album to album; they ignored expectations, they created music driven by a manic inner vision. The first seven studio long-players (Lost Paradise – Gothic – Shades Of God – Icon – Draconian Times – One Second – Host) draw a beautiful unbroken arc. Paradise Lost is not a progressive rock/metal outfit in the classic sense of the term, but the evolution of their sound is the definition of progression for me. From doom and death, they evolved into a pure metal unit that embraced synthetic sounds to build perfect pop masterpieces. The post-Host era period is full of significant recordings but has not brought new colors to the picture; the following nine studio efforts dance within the boundaries explored earlier.

On top of teaching me to observe music and art without any preconceptions, I got many other valuable things from the band. They are solely responsible for buying the John Milton classic that became a cherished book of mine, which I return to, time after time. They gave me the excitement and pride of the first interview I have ever done with an international artist. Before their first gig in Hungary, 9th November 1992, in the noisy dressing room in Petőfi Hall, I was allowed to ask questions from the whole band, and the Hungarian Metal Hammer magazine published my article in their first issue of 1993. I am highly grateful to them for bringing violinist Ed Alleyne-Johnson of New Model Army over for the Budapest concert as an opening act because that performance gave unearthly pleasures to me. The Purple Electric Violin Concerto album he promoted on that tour became one of my all-time favorite instrumental LP. They introduced Dave McKean to me since he created the haunting artwork of the first Paradise Lost album that hit me: Shades Of God, and became one of my favorite visual artists because of his masterpieces created with my beloved comic book writer Neil Gaiman. Besides the cover arts for the Alice Cooper-inspired The Last Temptation mini-series and the legendary Sandman saga, I love Violent Cases and Black Orchid the most, where he created all drawings, paintings, and collages. My review of Draconian Times published in Metal Hammer H gave me a precious human being as well. I met later colleague, friend Dávid Blahó when I coordinated interviews for In Flames around their Budapest gig promoting Siren Charms, and I contacted him as a journalist at Kultography if he wants to conclude a face to face interview with the band. He gladly opted in and wrote me in his reply how much I influenced him with that album review. Paradise Lost brought us together, I asked him to join my company, and I get to know an extraordinary gentleman in him. He left us too soon. Life is too short. One second.

I believe that the Paradise Lost oeuvre is complete artistically. As for the art form considered, they went from wall to wall; they explored the entire field chosen but philosophically have not moved an inch from the starting point of 1988 when they christened their band to Paradise Lost. They are the best example that there is hope, there is reason to live, and human values worth living by. On their last album, they ask:

“Who controls the mind that drifts to hell?”

But the question is how can we shape our thoughts and intentions to reclaim Paradise on Earth.

(Artwork by Csaba Mester)