One Second

On the surface, Paradise Lost’s jump from Draconian Times to One Second might be the most drastic style change they’ve ever undergone. All traces of the band’s death-doom roots are completely scrubbed away with the faintest impressions of metal coming through the periodic distortion, leaving behind their gothic flair to run free with extra helpings of synthpop. Plenty of Depeche Mode comparisons have been made but I could also imagine The Sisters of Mercy releasing something like this as a followup to Vision Thing.

Such a huge shift leads to an overhaul in the band dynamic. The keyboards that had been used for atmospheric flourish before are the most domineering presence, providing many of the melodies and textures. The vocals also opt for yet another change in delivery with Holmes dropping all gravel in favor of more pop-friendly baritone cleans.

While this leads to the other instruments in the backseat, they come out solid. The guitars are mostly relegated to shaping dynamic with heavy chugs but remain firm when backed by one of the band’s most bottom-heavy mix since Shades of God. The mix of drums and electronic beats also manages to be fairly tasteful though indicative of the time.

But even with all this going on, the band still feels like itself. The songwriting in particular isn’t too far off from what Draconian Times offered, putting forth its own varied mix of melancholic catchiness. The opening title track and “Soul Courageous” are especially indicative of this, the former playing like a sped up “Enchantment” with similarly graceful piano and fluctuating builds while the latter is a more danceable answer to the driving “Once Solemn.” Tracks like “Mercy” and “Another Day” also stand out for their mournful but memorable choruses while “Take Me Down” closes the album on its doomiest note suffocated by cold industrial.

Of course, “Say Just Words” is the album’s most noteworthy track. The opening piano melody immediately draws the listener’s attention, the rhythm hits an infectious sweet spot between the thick guitars and pulsating beat, the vocals flow with an almost petty cadence slipping in across the earworm verses and choruses, and the structure is perfectly compact without feeling too dumbed down. It makes a case for being one of the best gothic metal songs ever written, at least on the more accessible side of the spectrum, and is among my personal favorites.

One Second is the sort of album whose changes seem dramatic but are executed in a way that manages to still feel in character. It’s right in line with Paradise Lost’s well established tendency to shake things up, finding new ways to toy with their musicianship while nurturing its predecessor’s consolidated songwriting. It’s the sort of album that doesn’t get as much acknowledgement as it should, no doubt controversial but also influential to yet another wave of bands in its genre. Even if it’s not a true classic, it has an important place in the conversation.