Icon represents a turning point for
Paradise Lost: vocalist
Nick Holmes loses the limiting growl in favor of a
James Hetfield-style bark and Gregorian chants, while mastermind
Gregor Mackintosh (lead guitar) further perfects his brand of baroque metal. Although older fans were beginning to protest that the band was becoming a sellout, this album retains the harsh edge of earlier albums while refining a more artistic vision for the band. Experimentation fits in flawlessly with the new sound: synthesized strings on "Embers Fire," angry coliseum crowds on "Colossal Rains," timpani and piano in "Deus Misereatur," and angelic female vocals in "Christendom." It would be difficult to overstate the mastery and genius behind
Mackintosh's guitar work and arrangements. The album's scope is majestic and the end result is nothing short of glorious. Listeners who prefer the heavier elements of these songs should move backward in the band's canon, preferably to
Gothic; those who are thoroughly satisfied with the sound may enjoy
Draconian Times even more.