Paradise Lost - "Symbol of Life", 2002

For a band that, at the time, was supposedly burned out on drugs and medications, as well as dealing with a stylistic dilemma, Paradise Lost was certainly very creative in the beginning of the millennium; "Symbol of Life" was released roughly one year after the controversial "Believe in Nothing," in a one-two punch that hadn't happened since the early years of the band. One might have thought the album would have sounded like a bunch of "Believe in Nothing" leftovers, but that wasn't the case at all; it actually was a great record in its own right, and it offered yet another stylistic shift in the band's constant evolution.

On "Symbol of Life," the guitars are even more upfront than on "Believe in Nothing," making it, at that point, the heaviest album the band had done since "Draconian Times"; the electronics, which played a major role on the previous three records, are still there, although less intrusive in general. Keyboards and piano sounds in particular are still a big part of the picture, though, often marking the songs with poignant melodies or serving as an atmospheric background. The record seems to occasionally nod to the industrial metal scene (even Rammstein) with some of its pumping, martial rhythms paired with aggressive guitars, for instance, on tracks such as the driving album opener "Isolate," the anthemic single "Erased," or the catchy "Perfect Mask," three tunes that would probably fill the dancefloors of many German gothic/dark nightclubs. 

The album also seems to have a modern edge to it that dangerously dips its toes into the mainstream alternative metal waters of the time. The appropriately titled "Primal" features choppy guitars, pumping distorted bass, and infectious vocal melodies; the more atmospheric "Pray Nightfall" is an unusual yet haunting track that sounds different from anything the band has done before, and "Self-Obsessed" is an absolute banger that keeps a perfect balance between heavy guitar breakdowns and agile, sing-along verses; it's so good that it should have never left the band's live setlists.

Other guitar-driven songs such as the moodier "Two Worlds," the classic dark metal anthem "No Celebration," or the unusually punk-ish "Channel for the Pain" also show that the band was eager to return to more metal territories, but it's with "Mystify" and the title track that the album reaches its climax; while the former is a catchy yet beautifully melancholic cut driven by a memorable piano melody, the latter is an evocative, enthralling, and tense song that—again—should have been a staple of all future live shows up to this day. The digipack version also featured a couple of cover versions, with "Smalltown Boy" (by Bronski Beat) immediately becoming a hit song, to the point that it is still often played every other tour these days, and it's among the most-streamed tracks of the band on Spotify.

Nick Holmes is still on top of his game, comfortably switching between his cleaner, more melodic "Believe in Nothing" tone and the Hetfield-esque, throaty grit he became known for on albums such as "Icon" and "Draconian Times" when needed, although a tad more restrained here. Either way, he's an absolute protagonist on "Symbol of Life," and he often makes the songs, coming up with memorable vocal refrains and a masterful use of dynamics.

The album could have used a few more leads, with Greg Mackintosh's playing being more restrained than usual, mostly focusing on rhythm guitars and adding solos sparingly; it makes for a more direct, essential album, definitely in line with the modern metal of the time, with the prominent bass and drums of the Edmondson/Morris tandem laying a rock-solid foundation. It's unfortunate that this marks the final album for the underappreciated drummer, since he once more offers a tasty performance, enhanced by a very punchy snare that sounds leagues better than on "Believe in Nothing." The production in general is excellent, if a bit too compressed, but that was a common problem with many early '00s masterings.

"Symbol of Life" is a brooding, classy record that beautifully fills the gap between "Believe in Nothing" and the more metallic self-titled album, the latter being a heavier version of "Symbol of Life" itself in many respects. I had a chance to see the band on this tour, and both from the performance and the audience's reaction—as well as the attendance—it was clear that Paradise Lost was coming back to form after a few years of uncertainty; it might not be that popular now, but "Symbol of Life" was an important record for the band, and I believe it's still a strong example of how solid the band's songwriting was back in those years. In many ways, it's the last outstanding Paradise Lost record and one where the band still attempted to shift its style forward and surprise the fanbase, before slowly backtracking to the gothic metal of old and progressively losing the creative spark and musical audacity that made the Englishmen unique up to that point.

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