Review by Adam M on June 3, 2015.

The Plague Within adds more dynamics to the Paradise Lost’s core sound to diverge away into an appealing new direction. The addition of growls to the clean vocals allows the band to manipulate their tone to their own liking. The band also builds on the melodic style of recent material by incorporating more sludgy doom sections to the material. The overall result of Paradise Lost’s efforts is an expansion rather than a regression. This will hopefully quell some of the critics that think the band has been sticking too greatly to a standard sound without changing it.

This varied approach also triumphs over last year’s strong Bloodbath album with Nick Holmes at the helm. The fact that Paradise Lost still successfully wields a melodic side at every turn is one large reason for this. In fact, the early and later portions of the album display strong tracks like Terminal, An Eternity of Lies, Punishment Through Time and Return to the Sun. All of these songs have a strong melodic aspect. The weakest part of the release is actually the very middle portion of the album with the track Beneath Broken Earth that tries to rely too much on a pure doom style with no clean vocals. Still, the album is remarkably consistent, as with a large portion of Paradise Lost’s discography. The songs are also of the perfect length to showcase both versatility and memorability.

It might take a bit of time to become readjusted to the new vocal style, but this album is a step in the right direction for the band. It displays a band that is unwilling to become redundant in their sound and make use of all of the elements available in their repertoire. Whether The Plague Within is superior to the band’s last phenomenal album, Tragic Idol, is up for debate. However, whether Paradise Lost remains one heavy metal's leading acts after a very strong history is, in this reviewer’s opinion, no longer debatable.

Rating: 9 out of 10

Review by Denis on August 7, 2003.

This band was originally formed in 97 by singer Robin Tinker and keyboardist player Matthew Davis. The singer brought in a couple friends to play guitar and bass in what was becoming more than just the initial past time. In 1999 came the debut self-release "Blowing Bubbles Through Broken Windows". In 2001 Dark Symphonies not only discovered but also signed them. Their second album was recorded from October to December 2002 with producer Roger Lavallee from "The Curtain Society".

"Things That Were" is sadly dedicated by Matthew Davis to Tara Harding Lee who passed away in 2002. In his words: "She was our number one fan, for a short time, I got to know the beauty of her soul". It didn't take me long to be absorbed in it; almost hypnotized by the very mood of "Things That Were". I just have the feeling I'm in a haunted house, my ear against the wall, listening to the songs and music from the very souls haunting that house. Sad and haunting.

"Things That Were" is a wonderful venture into the gothic realm. Almost scary if one considers the fact that it was dedicated to a departed friend who used to be a fan. There ends the scariness because in no way, shape or form is this opus a threat to your completeness. Quite the opposite since it is all poetry and sadness following a shadowy melodic path. Angelic female vocals give the right vibration to the lyrics. Backing vocals (male) are also present in some passages. A lot of clean acoustic or electric guitar parts along with panoramic background keys are painting the ghostly scenery depicted in the compositions. No speed or screams involved. Only good melodies from beginning to end.

My own favorite dark lights: 'Ever After Fading', 'Autumn Falls', 'The Tiny Drawer' and 'Such As Mirrors'.

Bottom Line: Thus the atmosphere became gothic...

Categorical Rating Breakdown:

Musicianship: 8
Originality: 7
Atmosphere: 9
Production: 8
Overall: 8

Rating: 8 out of 10