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1 of 1 people found the following review helpful:
4.0 out of 5 stars
Carrying The Torch of Classic Goth Rock!, December 6, 2002
Don't let the cheesy Nordic metal cover art deceive you - this album is to be filed somewhere in the midst of Nosferatu, The Damned, and Two Witches at their most focused and masterful. Germany's Paralysed Age is one of the few traditional organic Gothic Rock bands left that has the potential to flourish. Led by deep male vocals (riddled with an oh so appropriate foreign accent for that extra vampiric cred), Paralysed Age rely on light yet resonant power chord crunches, thick bass lines, admittedly flat yet suitable female vocal accompaniments, and rock based drum programs. The songs are catchy and rich with memorable choruses and pop hooks, and the entire package is enhanced by a warm and dense production.Inspired by the classic Edgar Allen Poe chiller, "Berenice" kicks the CD off on a soaring and incredibly infections note. The song has nearly everything a Goth Rocker could want - though upbeat and poppy, it is enriched by a mischievous decadence and has a kind of dark splendour that hasn't been tapped since perhaps the Sisters or Rosetta Stone. "Berenice" is a fantastic track that needs to be heard and played repeatedly. The album's title track, though offering a more delayed gratification, eventually weasels its way into the conscious and will remain there for a considerable time. A late blooming track that I liked but grew to love after consecutive listens. "My Sweetest Return" is a dark, plodding track, which features the talents of record label mate Rachel McDonnell of The Crüxshadows. Minor keyed synths stab jaggedly as the willowy violin drifts above the foggy gloom, before angular power chord crunching appears alongside Michael's macabre crooning and chilling whispers. "Your Coldest Smile" is a beautifully melancholic track, with strong bass lines rumbling throughout, overdriven guitar chords panning from speaker to speaker, and ghostly synths seeping in, gray and foreboding. In some ways, I am reminded of early Xymox when absorbing the antiquated icy charm of the song. The absolute magnificence of "Ocean," the album's masterpiece, appears fifth on the disc. The first time I heard this song, I knew it was one of the best Goth Rock tracks I have heard in years. Anthematic and peppy yet awash with a gorgeous sensual gloom, it reminds me of what Big Electric Cat could have been. The fantastic overdriven, jangling guitars sweep above the dense orchestral landscapes with grace and finesse, and the vocal melody is sung in earnest and with a lovelorn moodiness. A climactic interlude (the guitar work recalling The Damned's recent work) is accentuated by bellowing, pleading vocals and an epic instrumental passage - a wonderful reminder of Gothic Rock's enduring emotional power. The sincerity and intensity of "Ocean" gives way to a playful cover of "Self Control," an 80's pop track originally recorded by Laura Branigan. Another track that has received some successful club play, and sparked the amusement and nostalgia of elder Goths and baby bats that had their ears tuned to FM radio when they were growing up. A fun and creative cover, that perfectly translates into the band's concept. "Darkened Skies" is a return to the successful formula of mid paced, subtlety synthetic structures while "Dawn Of Life" is a more melodic ballad that though a decent track, lacks the strength of early songs. "Dunes" is another slower track, somewhat reminiscent of Ikon, though with more effective reverberated washes of processed guitars. "Get Faster, Reach Devil" is perplexing in it's lyrical meaning, but it is a return to more upbeat pastures. However, it is ultimately a weaker track that lacks the punch and sincerity of "Berenice" and "Ocean." The final two tracks fail to provide any grandiose or climactic finale, and the album ends on a rather mediocre point, but that is not to say that the album leaves the listener feeling dissatisfied. While Paralysed Age places their greatest treasures and shiniest gems on the first half of the disc, the album itself is an impressive feat, and well worth investigation for fans of guitar driven Gothic Rock, as there are several tracks that rank alongside the greatest anthems of Goth's second wave in the 1990's. Get in touch with Dancing Ferret discs and pick this up without hesitation. * Extracted from my review at StarVox.net
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by Paralysed Age 
