Sweden's Candlemass helped reintroduce the lumbering power chords of Black Sabbath to an entire generation of post-New Wave of British Heavy Metal and post-thrash metalheads, almost single-handedly writing the handbook for the modern doom metal movement in the process. After the breakup of his first band Nemesis in 1985, bassist Leif Edling... [+] Read More

Sweden's Candlemass helped reintroduce the lumbering power chords of Black Sabbath to an entire generation of post-New Wave of British Heavy Metal and post-thrash metalheads, almost single-handedly writing the handbook for the modern doom metal movement in the process. After the breakup of his first band Nemesis in 1985, bassist Leif Edling founded Candlemass with vocalist Johan Lanquist, guitarist Mats Bjorkman, and drummer Matz Ekstroem. Their watershed debut, Epicus Doomicus Metallicus, was released the following year, and though it immediately secured their standing within metal circles, it was only with the arrival of new vocalist Messiah Marcolin for 1987's Nightfall that the band found its true voice -- quite literally -- as the singer's vibrato-laden operatic tone remains completely original to this day. The album, which also saw the arrival of lead guitarist Lars Johansson and new drummer Jan Lindh, combined massive riffs and dark melodies into songs of epic proportions, which were made even more dramatic by Marcolin's religious lyrics and monk's habit stage costume. Candlemass repeated this formula with less inspired results on the ensuing albums Ancient Dreams (1988) and Tales of Creation (1989), each of which also saw a noticeable improvement in the production department. The appropriately titled Live closed the golden era of their career with Marcolin departing to form his own band, Memento Mori.


Singer Tomas Vikstrom was drafted as his replacement for 1992's Chapter VI (featuring a more conventional metal sound), but the band's popularity was in swift decline and Edling decided to disband soon thereafter. He formed a new group with decidedly Euro-metal leanings called Abstrakt Algebra in 1994, but after only two albums, he decided to resurrect Candlemass once again. The avant-garde metal of 1998's Dactylis Glomerata bore little resemblance to Candlemass' doom metal past, featuring Edling along with vocalist Bjorn Fklodkvist, guitarist Mike Amott, keyboard player Carl Westholm, and drummer Jejo Perkovic. Further lineup changes would occur, with guitarist Mats Stahl replacing Amott prior to the release of 1999's From the 13th Sun. Several years later, the classic lineup reconvened and released a self-titled 2005 album. ~ Ed Rivadavia, All Music Guide [-] Hide

No band deserves as much credit for keeping the gospel of classic Black Sabbath-derived heavy metal (no to mention bell-bottoms) alive during the '80s as Chicago's Trouble. And while the group's legend never exceeded cult status, their work would serve as inspiration for an entire generation of '90s bands in the thriving underground doom/stoner... [+] Read More

No band deserves as much credit for keeping the gospel of classic Black Sabbath-derived heavy metal (no to mention bell-bottoms) alive during the '80s as Chicago's Trouble. And while the group's legend never exceeded cult status, their work would serve as inspiration for an entire generation of '90s bands in the thriving underground doom/stoner metal scene.

Trouble was formed in 1979 by vocalist Eric Wagner, guitarists Bruce Franklin and Frank Wartell, bassist Sean McAllister, and drummer Jeff Olson. Drawing deeply from Black Sabbath for inspiration (with occasional nods to the psychedelic sounds of the late '60s thrown in for good measure), the band forged an uncompromising brand of classic metal all their own, made more unique by their gloomy down-tuned riffs and spiritual, often openly religious lyrics, which quickly earned them the dubious "white metal" tag. The band toured throughout the Midwest during the early '80s before signing with Metal Blade Records and releasing their amazingly mature eponymous debut (later referred to as Psalm 9) in 1984. The equally impressive (and even more depressing) The Skull followed in 1985 and reflected singer Wagner's struggles with substance abuse as well as the growing turmoil within the group. This led to the replacement of bassist McAllister with Ron Holzner and the departure of drummer Olson, who, as legend has it, had decided to become a preacher. Dennis Lesch was drafted as his replacement for 1987's Run to the Light, a disappointing, unfocused album that, when faced with continued public indifference, plunged the disheartened group to the brink of extinction and a three-year silence.

Luckily, just when it seemed that Trouble's fortunes had run out, the band was snapped up by Rick Rubin's visionary Def American Records for whom they recorded another self-titled album in 1990 with Rubin in the producer's chair. More experimental than previous efforts, the album (featuring new drummer Barry Stern) expanded upon the group's tentative psychedelic notions of the past while abandoning none of their thunderous power chords. Encouraged by a euphoric response from the media, the revitalized group embarked on a year-long tour, expanded their fan base considerably, and returned to the studio with every intention of making their next album the one that would push them over the edge. Sure enough, 1992's stunning Manic Frustration realized all their creative ambitions, delving even deeper into Beatlesque psychedelia and featuring some of Trouble's most aggressive, energetic performances ever. But when the album still failed to connect with a wider audience (due perhaps to the grunge revolution that made metal a bad word in 1992), it seemed that Trouble had apparently missed their last window of opportunity.

Ultimately dropped by their record company (that by now was experiencing financial problems of their own), the band issued 1995's Plastic Green Head through the Music for Nations label. But despite offering consistently strong songwriting that harkened back to their doom roots, and the return of founding drummer Olson, the album's impact was noticeably dulled by a badly concealed weariness. Vocalist Eric Wagner would quit the band soon after (going on to form Lid) and though Trouble has been on hiatus ever since, rumors of an eventual re-formation persist. ~ Ed Rivadavia, All Music Guide [-] Hide

One of the leading American doom metal acts of the '80s (along with Trouble and the Obsessed), Saint Vitus was cursed with public indifference throughout their decade-plus career, which both started and ended in frustrating obscurity. Originally formed as Tyrant in 1979 by vocalist Scott Reagers, guitarist Dave Chandler, bassist Mark Adams, and... [+] Read More

One of the leading American doom metal acts of the '80s (along with Trouble and the Obsessed), Saint Vitus was cursed with public indifference throughout their decade-plus career, which both started and ended in frustrating obscurity. Originally formed as Tyrant in 1979 by vocalist Scott Reagers, guitarist Dave Chandler, bassist Mark Adams, and drummer Armando Acosta, Los Angeles' Saint Vitus was named after a medieval boy saint whose beheading and violent death-throes gave rise to the gruesome expression ("Saint Vitus Dance," also the name of a Black Sabbath song from the Vol. 4 album). Though they couldn't help but be slightly influenced by the SoCal hardcore scene thriving all around them (especially on their early releases), the quartet was a card-carrying disciple of Sabbath's dreary doom metal commandments, specializing in amazingly slow, ponderous power chords and a highly unfashionable biker image. Their eponymous 1984 debut was released by Black Flag guitarist Greg Ginn's SST Records, and was followed in quick succession by the Walking Dead EP and Hallow's Victim album the very next year.

Progress was slow, but the band continued to improve despite the departure of vocalist Reagars, thanks to the arrival of former Obsessed frontman and sometime-guitarist Scott "Wino" Weinrich for 1986's Born Too Late -- generally regarded as their best effort. The following year's Thirsty and Miserable EP and 1988's Mournful Cries found greater acclaim in Europe than America and marked the end of the group's relationship with SST. New label Hellhound Records released 1989's V as well as a career-spanning live album recorded in Germany a year later. But despite all this hard work, the band seemed incapable of breaking new ground or achieving anything even resembling commercial success. As their disillusionment grew and Wino quit the group to reform the Obsessed, the release of an SST greatest hits set called Heavier Than Thou seemed like the final chapter for Saint Vitus. New singer Christian Lindersson appeared on 1992's half-heartedly recorded C.O.D., and though the original lineup would briefly reconvene for a last hurrah with 1995's Die Healing, no more has been heard of Saint Vitus since. ~ Ed Rivadavia, All Music Guide [-] Hide

It's universally agreed that the originators of the doom metal genre are Black Sabbath, but there were several bands of the '80s/early '90s who kept the style alive (during Sabbath's "lean years"), such as Saint Vitus, Trouble, Candlemass, and, especially, the U.K.-based Cathedral. When singer Lee Dorrian jumped ship from grindcore godfathers... [+] Read More

It's universally agreed that the originators of the doom metal genre are Black Sabbath, but there were several bands of the '80s/early '90s who kept the style alive (during Sabbath's "lean years"), such as Saint Vitus, Trouble, Candlemass, and, especially, the U.K.-based Cathedral. When singer Lee Dorrian jumped ship from grindcore godfathers Napalm Death during the late '80s, he sought to form a new outfit that would focus on the plodding sounds of Sabbath, rather than the all-out assault of his former band. As a result, Cathedral was formed in early 1990, with a lineup consisting of Dorrian, guitarists Mark Griffiths and Gary Jennings, plus drummer Andy Baker. Almost immediately, however, the new group experienced some personnel fluctuation (a sign of things to come). Baker was replaced by Ben Mochrie after only several rehearsals, Griffiths switched over to the bass, and a second guitarist was added, Adam Lehan. 1991 saw the release of a self-produced demo, In Memoriam, issued via Dorrian's own label, Rise Above Records (the album would be reissued on CD almost ten years later, with an expanded track listing).

Cathedral was signed by renowned U.K. metal label Earache shortly thereafter, resulting in the release of their full-length debut, Forest of Equilibrium, in 1991. With many figuring that grindcore would become the next globally preferred sub-genre of heavy metal, U.S. major labels began signing such outfits as Entombed, Carcass, and Napalm Death. As a result of their ties to the genre, Cathedral signed on with Columbia Records, even though they displayed little resemblance musically to the aforementioned acts. Lineup instability failed to derail Cathedral, as they delivered arguably the finest album of their career, The Ethereal Mirror, in 1993. A year later, Cathedral got to open a European tour for their heroes, Black Sabbath (albeit the Tony Martin-fronted version).

By this time, Dorrian and Jennings were the only members left in attendance from their early days, but more importantly, the group was dropped by Columbia after only a single album. The group has persevered nonetheless -- returning back to the Earache label, and throughout the remainder of the '90s and early 21st century issued such strong releases as 1995's The Carnival Bizarre, 1996's Supernatural Birth Machine, 1998's Caravan Beyond Redemption, and 2001's Endtyme. 2002 saw Cathedral sign on with Spitfire in time for the release of their seventh full-length overall, The VIIth Coming. Despite all of their ups and downs, Cathedral can be credited for opening the door for other subsequent doom bands, as countless groups (who had obviously studied Dorrian and company) cropped up during the mid-/late '90s: Orange Goblin, Electric Wizard, Spiritual Beggars, and more. ~ Greg Prato, All Music Guide [-] Hide

Nick Holmes - Vocals
Greg Mackintosh - Lead Guitar
Aaron Aedy - Rhythm Guitar
Steve Edmondson - Bass
Jeff Singer - Drums
Band Biography
Gothic metal pioneers and arguably one of the best and most influential rock bands Britain has ever produced, 2007 marks Yorkshire's kings of gloom Paradise Lost's nineteenth year,... [+] Read More

Nick Holmes - Vocals
Greg Mackintosh - Lead Guitar
Aaron Aedy - Rhythm Guitar
Steve Edmondson - Bass
Jeff Singer - Drums
Band Biography
Gothic metal pioneers and arguably one of the best and most influential rock bands Britain has ever produced, 2007 marks Yorkshire's kings of gloom Paradise Lost's nineteenth year, and heralds the coming of their eleventh album, 'In Requiem', on May 21st.
Over their two decade long career, Paradise Lost have not only created and defined genres and styles, but almost immediately transcended them. From the crawling, harrowing doom of their 1990 debut 'Lost Paradise', to the electronic flourishes prevalent in 1997's 'One Second', 1999's 'Host' and 2005's stunning self-titled album, their sound has continued to evolve vastly, but haunting melody and dark rock power has remained at the very core of their identity.
In 1991 the band released 'Gothic', not so much an album title as the definition for an entire genre, while the influence 1995's huge-selling masterpiece 'Draconian Times' – the missing link between Metallica and the Sisters of Mercy - echoes loudly in today's scene, with the likes of Cradle of Filth, Nightwish and HIM owing a huge debt to their knack for injecting heavy rock with their trademark dark sheen.
Recorded at both Chapel Studios in Lincolnshire with producer Rhys Fulber, and also in Canada and was mixed by Mike Fraser (Metallica, AC/DC, Van Halen), 'In Requiem' sees the band taking a slight step away from the moodier leanings of their last few records into more stripped down territory, and continuing to push the envelope of what can be done with the dark side of heavy metal, while remaining as anthemic and recognisable as ever in their shadowy art.
"We wanted to make a heavier, darker Paradise Lost album," says singer Nick Holmes. “But it was also important to write songs that encompass the melody that has become very much an integral part of our music over the last 10 years."
"More raw, organic, less polished," is how guitarist Gregor Mackintosh puts it. “Musically, it is about finding the balance between brutality and empathy, between horror and beauty. Neither a celebration nor a lamentation, simply the emotions that arise, being surrounded by life and death."
'In Requiem' is preceeded by the awesome single 'The Enemy' on April 13th, accompanied by a stunning video filmed on the Crimean peninsula in Yalta with acclaimed Ukrainian director Edward 209, famed for his bizarre take on making videos.
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After a series of EPs, two full-lengths, and a European tour, My Dying Bride had established themselves prior to this release, but Turn Loose the Swans, probably more than any other effort, confirmed the band's leadership position within the British death metal/doom metal movement. The gothic strains and pure depression of the band are in peak... [+] Read More

After a series of EPs, two full-lengths, and a European tour, My Dying Bride had established themselves prior to this release, but Turn Loose the Swans, probably more than any other effort, confirmed the band's leadership position within the British death metal/doom metal movement. The gothic strains and pure depression of the band are in peak form on this recording. From the gentler strains of "Your River" to the deathly title track, My Dying Bride takes sorrow to new extremes on this Futurist release. Averaging a cool eight minutes apiece, each of this record's seven songs is dripping with treachery and pain, as the band's lyrical fascination with deceit and transgressions of every variety are apparent in every line. Some gentle string arrangements wind around the super-slow doom metal and sometimes-spoken, sometimes-screamed vocals, giving the record a dynamic twist that helped define the British death/doom sound. A strong early effort from My Dying Bride, Turn Loose the Swans should please fans of this band and their obscure genre. ~ Vincent Jeffries, All Music Guide [-] Hide

The Carnival Bizarre finds Cathedral nailing down their neo-Black Sabbath sound consistently from beginning to end with no filler, setting them apart from nearly every other band in the mid-'90s heavy metal scene. The album's consistency arises most likely from the band's streamlined line-up with only vocalist/lyricist Lee Dorrian and guitarist... [+] Read More

The Carnival Bizarre finds Cathedral nailing down their neo-Black Sabbath sound consistently from beginning to end with no filler, setting them apart from nearly every other band in the mid-'90s heavy metal scene. The album's consistency arises most likely from the band's streamlined line-up with only vocalist/lyricist Lee Dorrian and guitarist Gaz Jennings remaining from proceeding releases. These two collaborate on each of the ten songs, perfecting their formula for gothic fairy tales set to monstrous grooves of castle-sized guitar riffs. The album's title track serves as a perfect example of how Cathedral has grown and polished its unique style more easily explained by what it isn't than what it is. On this particular song, Jennings breaks off almost immediately into the song's central riff as Dorrian begins to map out his fantastic motifs: "Ride with me on a shooting star/Through galaxies of death we chase/Skeletal king of paradise." The song has a catchy chorus that has Dorrian changing the pitch of his voice from his deep, dark gravely tone to a juxtaposing high-pitched voice nearly as rough. Several tangents make this song more than just a standard rock tune in the style of "Ride" from the group's preceding album. It is at these moments that Jennings proves just how amazing of a guitar player he has become, moving through an ambient section of psychedelic-phasing guitar tones to a contemplative guitar solo with an overdubbed backing riff that takes the song on a journey to its post-eight minute conclusion. Nearly every one of the other ten songs makes small alterations on this same template, with Dorrian's mapped-out lyrics keeping the songs within the confines of traditional rock structuring and Jennings' ever-mobile guitar serving as the musical equivalent to the other-worldly lyrical topics. ~ Jason Birchmeier, All Music Guide [-] Hide

Paradise Lost's Draconian Times falls between stark, oppressive goth rock and crunching heavy metal. It's a bit more experimental than their earlier efforts, as it displays subtle industrial influences -- there's the occasional barrage of samples -- as well as more keyboards and a chorus, perhaps appropriately dubbed the "Dead Boys Choir."... [+] Read More

Paradise Lost's Draconian Times falls between stark, oppressive goth rock and crunching heavy metal. It's a bit more experimental than their earlier efforts, as it displays subtle industrial influences -- there's the occasional barrage of samples -- as well as more keyboards and a chorus, perhaps appropriately dubbed the "Dead Boys Choir." Draconian Times is intentionally unwelcoming music, but those who want to dwell deep inside its twisted corridors will find a few pleasures. Paradise Lost may not be terrific songwriters, but they can create and sustain a mood. ~ Daevid Jehnzen, All Music Guide [-] Hide

Although the British band Anathema left their traditional death metal sound behind on The Silent Enigma with guitarist Vincent Cavanagh taking over vocals duties from growler Darren White, the dark themes continue. Shifting their morbid focus from God-bashing and destruction, the chaps focus on suicide and the meaningless of life. The blistering... [+] Read More

Although the British band Anathema left their traditional death metal sound behind on The Silent Enigma with guitarist Vincent Cavanagh taking over vocals duties from growler Darren White, the dark themes continue. Shifting their morbid focus from God-bashing and destruction, the chaps focus on suicide and the meaningless of life. The blistering guitars have been replaced by atmospheric keyboards making this come off as a twisted combination of Pink Floyd and Peter Gabriel, and there is even some spoken poetry here. As a whole, Anathema has proven that they are an original band, not content to repeat history. Unfortunately, there is a place in this world for such dark subject matter, and for those who care, Eternity fits the bill. ~ Robert Taylor, All Music Guide [-] Hide

During the mid-80's, the European heavy metal scene was dominated by countless thrash, death, and black metal bands playing at breakneck speeds and screaming in a high-pitched frenzy. So when Candlemass released their debut, Epicus Doomicus Metallicus in 1986, its songs (featuring slow, lumbering riffs straight out of the Black Sabbath handbook... [+] Read More

During the mid-80's, the European heavy metal scene was dominated by countless thrash, death, and black metal bands playing at breakneck speeds and screaming in a high-pitched frenzy. So when Candlemass released their debut, Epicus Doomicus Metallicus in 1986, its songs (featuring slow, lumbering riffs straight out of the Black Sabbath handbook and vocals delivered in a baritone, operatic style) offered up a stylistic curve ball of shocking proportions. After disposing of its deceptively optimistic introductory acoustic guitar, opener "Solitude" develops into a complete monster, replete with lyrics of suicidal depression and churning with the most colossal, down-tuned guitar riff since Sabbath's "Iron Man." And that's just the beginning, as succeeding tracks "Demon's Gate," "Crystal Ball," and "Under the Oak" (later re-recorded in its definitive version for the band's fourth album Tales of Creation) trudge by with deliberate, immutable doom. Although the group's vision was startlingly well-conceived and unique for its time, bassist, songwriter and all-around group leader Leif Edling had yet to find all the right components. And despite offering the strongest, most consistent songwriting of the band's career, Epicus Doomicus Metallicus was let down by vocalist Johan Lanquist, whose performance failed to deliver with the power and command of his immediate successor Messiah Marcolin. A pillar of classic '80s metal nonetheless, this album will satisfy all doomsters. ~ Ed Rivadavia, All Music Guide [-] Hide