Review by Anna on July 25, 2010.

"I love romantic music. Paradise Lost is my favorite band", said the 30-something German I met on a recent vacation. He was no metalhead, and considering I had chosen to escape to a tropical atmosphere surrounded by rainforest, I was a bit surprised to hear what for me is a household bandname coming from this stranger's mouth. But then again, I wasn't.

This is an example of the generational and geographical mark Paradise Lost has made from the 90s on, in Continental Europe and beyond. They are one of the pioneers of the Death/Doom and Gothic Metal genres, and "Faith Divides Us- Death Unites Us" is their twelfth studio album.

As I was born a little late and lived a bit too far, this is the same geographical, even generational mark that I was just barely graced by. There is a sense of irrational regret as I'm listening to this, feeling that Paradise Lost should have been one of the bands I grew up on, while I was living in a place where you were lucky to have heard of these band names. Although as I'm listening to them now, over two decades from the time they started, there is such a resonance inside that somehow, I don't feel like a stranger to this music at all- as if I could easily familiarize myself with them as though no time had ever been "lost". This is apparently a band that has not lost their focus over all this time.

Stylistically, "Faith Divides Us- Death Unites Us" lies within the realm of Gothic/ Death/Doom, the "gothic" element lending forth a nuance of elegance, consistent to what this "meant" in the 90s. This album is thoroughly satisfying from start to finish. The word "balanced" comes to mind as I'm not feeling any bit of musical conflict at all. No one instrumentalist is trying to outdo another-everything comes together harmoniously and every member does their part in bringing forth beauty to the songs in a very stable formula, making each track feel truly "complete". Musical treats include several really good short solos throughout the album. Naturally, several related bands can be "heard" in the music, the most notable example being the track "First Light" which delightfully reeks of Amorphis. This album is solemn in feeling and neutral in aftertaste, and the execution is superb.

Whether you are new to Paradise Lost or have followed them since the beginning, you cannot really go wrong with this album. For fans of Anathema, My Dying Bride, Amorphis, Katatonia, and beyond, this is quality that reflects a very special era in metal, not too long ago.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 8.7
Production: 10
Originality: 8.5
Overall: 9

Rating: 9.1 out of 10

Review by Felix on April 4, 2020.

Ritual Carnage returned with I, Infidel after two exciting albums and a third full-length that had shown first signs of wear. But the force from Japan found a way to bundle its strengths for a final time - at least for some songs. The almost orgasmic title track marks a very good example for the regained ability of Ritual Carnage to combine apocalyptic riffs with the irresistible energy of high velocity. A bastard of thrash and death metal blows from the East and the deadly main riff motivates the dudes to very fast verses and a catchy chorus. The neighbors of the title track are cut from the same cloth. The band presents violent storms that show no consideration. Ritual Carnage are still able to release an enormous power and their greatest songs lead the listener directly to the burning pits of hell.

But things are getting worse as soon as the tradition-conscious band lacks velocity. During some of the rather slow parts, the dudes try to integrate elements of progressive thrash, for example a few number of bulky and slightly dissonant guitar tones at the beginning of a song. The solos also do not fully convince. 'Axiom' holds a pretty senseless one which does not add any value to the song. Unfortunately, the rest of the number is more or less worthless as well. It cannot be ignored that the first three regular tracks have a greater impact than the songs that follow the useless ten-seconds-intermezzo 'These Chains'. Sometimes I have the feeling to listen to a late Deathrow album after having consumed a couple of stimulants. There are some "Deception Ignored" parts, but this full-length has never made my day and the same goes for some pieces of the here presented album. But too avoid misunderstandings, most sections of I, Infidel are brutal and abrasive; the output is not characterized by staccato riffing or marginally experimental sounds.

The lead vocals constitute another little problem. Danny Carnage presents a somewhat narrow-minded performance. Most of the time it seems as if he knows only one pitch. This compact dude is always in rage, always excited and always at war with his own limited capacity. Not totally bad, but pretty monotonous - and his thrash vocals sometimes do not really harmonize with the death / thrash massacre of the instrumentalists. As well as his Asian comrades, Danny does not lack enthusiasm and dedication. Nevertheless, too many instrumental parts are going nowhere and especially the uniformly designed verses prevent that a certain number of songs develop their own individuality. No doubt, it is not the production that bars the way to a very good rating. I, Infidel can rely on a powerful and more than solid sound. It's the songwriting. Despite some good tracks during the second half of the album, too many pieces just pass by. Exceptions confirm the rule. 'Twilight of the All Too Human' has the charm of a raging crowbar and the pretty strong and relentless closer 'I Am War' scores with a memorable chorus. In sum, fans of conventional death thrash can test this work, but don't expect a milestone.

Rating: 7.2 out of 10

Review by Felix on April 4, 2020.

Ritual Carnage returned with I, Infidel after two exciting albums and a third full-length that had shown first signs of wear. But the force from Japan found a way to bundle its strengths for a final time - at least for some songs. The almost orgasmic title track marks a very good example for the regained ability of Ritual Carnage to combine apocalyptic riffs with the irresistible energy of high velocity. A bastard of thrash and death metal blows from the East and the deadly main riff motivates the dudes to very fast verses and a catchy chorus. The neighbors of the title track are cut from the same cloth. The band presents violent storms that show no consideration. Ritual Carnage are still able to release an enormous power and their greatest songs lead the listener directly to the burning pits of hell.

But things are getting worse as soon as the tradition-conscious band lacks velocity. During some of the rather slow parts, the dudes try to integrate elements of progressive thrash, for example a few number of bulky and slightly dissonant guitar tones at the beginning of a song. The solos also do not fully convince. 'Axiom' holds a pretty senseless one which does not add any value to the song. Unfortunately, the rest of the number is more or less worthless as well. It cannot be ignored that the first three regular tracks have a greater impact than the songs that follow the useless ten-seconds-intermezzo 'These Chains'. Sometimes I have the feeling to listen to a late Deathrow album after having consumed a couple of stimulants. There are some "Deception Ignored" parts, but this full-length has never made my day and the same goes for some pieces of the here presented album. But too avoid misunderstandings, most sections of I, Infidel are brutal and abrasive; the output is not characterized by staccato riffing or marginally experimental sounds.

The lead vocals constitute another little problem. Danny Carnage presents a somewhat narrow-minded performance. Most of the time it seems as if he knows only one pitch. This compact dude is always in rage, always excited and always at war with his own limited capacity. Not totally bad, but pretty monotonous - and his thrash vocals sometimes do not really harmonize with the death / thrash massacre of the instrumentalists. As well as his Asian comrades, Danny does not lack enthusiasm and dedication. Nevertheless, too many instrumental parts are going nowhere and especially the uniformly designed verses prevent that a certain number of songs develop their own individuality. No doubt, it is not the production that bars the way to a very good rating. I, Infidel can rely on a powerful and more than solid sound. It's the songwriting. Despite some good tracks during the second half of the album, too many pieces just pass by. Exceptions confirm the rule. 'Twilight of the All Too Human' has the charm of a raging crowbar and the pretty strong and relentless closer 'I Am War' scores with a memorable chorus. In sum, fans of conventional death thrash can test this work, but don't expect a milestone.

Rating: 7.2 out of 10