Charly, nearly four decades after their original release, “Product Of Imagination” and “Heresy” are returning in newly restored editions. When you listen to these albums today, do they still represent the definitive blueprint of what Paradox is, or do you hear a young band that was only beginning to discover its identity?
I’d say that on our 1987 debut album, “Product Of Imagination”, you can clearly hear a young band at the start of its career, one that still had a lot to learn about professionalism. Yet, perhaps precisely because of the carefree attitude with which the songs were recorded, that very weakness turned into strength. The album is wild. The songs were good. The atmosphere during the sessions was positive. Back then, we wanted to sound like our idols, which is why we were often compared to them. In the rehearsal room and on the demo, the songs were originally a bit slower, but the adrenaline in the studio drove us to kick things up a notch. Stylistically, the direction we wanted to take was clear from the start: heavy riffs and predominantly fast songs influenced by the Bay Area sound, but with a dose of melody to make them memorable. That approach hasn't changed to this day, even after 45 years, though it has certainly evolved. Things didn't go well during the recording of our second album, “Heresy” (1989). The atmosphere was poor, even though the songs themselves were excellent. You can hear Paradox’s evolution on that record; we had gained experience and were rehearsing or playing shows almost every day. That routine helped us become more proficient with our instruments over those two years. The production was better, too, so for me personally, “Heresy” was a clear step up from the debut. But if someone had told me back then that the album would achieve classic status in the genre, I would have thought they were crazy.
Both albums have long been regarded as milestones of German speed and thrash metal, yet many fans still describe Paradox as one of the genre's greatest underrated bands. Looking back now, how do you view the legacy of those records within the Teutonic metal movement, and do you think history has finally given them the recognition they deserve?
Both albums are firmly rooted in Teutonic metal and represent a positive chapter in its history. Naturally, that makes me very proud as a composer. But I am even prouder of the fact that the fans have turned these two albums into classics. After all these years, the response from the public remains undiminished. It’s incredible. As a musician, that means you’ve achieved everything. Money doesn't matter here. Those two albums changed my entire life and far surpassed my childhood dream. There are logical reasons why Paradox is still considered one of the most underrated bands. If you never tour or play concerts around the world, you drop out of the conversation and get far less press coverage. Having to battle serious illnesses on top of that makes promotion even harder. Frequent line-up changes usually deal the final blow to a band. Yet, there is a good reason why Paradox is still alive and kicking: the quality of the albums and songs is recognized and appreciated by fans and the media alike. A fan simply wants to hear good music from their favorite band, and with every album, I’ve tried to live up to that expectation. I believe I’ve succeeded quite well. When you manage to stay active in this business for over four decades without touring, you’ve achieved something magnificent, something that simply cannot be underrated.
The jump from “Product Of Imagination” to “Heresy” is like the evolution of a band that became heavier, more focused and far more ambitious in a remarkably short time. Was that progression a natural consequence of constant touring and songwriting, or was there already a conscious desire to push beyond the limits of the debut?
Yeah, as previously mentioned, touring and spending so much time in the rehearsal room were the reasons we simply got better. Our idols also drove us to want to be just as good as they were. Fundamentally, a band always wants to improve. The goal must always be to get the absolute best out of things. You might not reach 100%, but perhaps 90%, and that gives you something to build on. Pure passion provides a positive boost, allowing you to surpass your own limits.
The production of “Heresy” has become almost legendary because of the difficult recording sessions, lineup changes and unexpected setbacks. Decades later, do those struggles somehow add to the album's character, making it impossible to imagine it sounding any other way?
That’s a tough question, but a good one! I don’t want to speculate, but as far as production goes, Harris Johns simply did an outstanding job. He knew exactly how the album should sound and how to give the songs the necessary punch. He was highly experienced and a great guy, too, someone who actually listened to what the musicians wanted! The lineup fell apart during the final stages of production, leaving the two original founders, who had started the band back in 1981, on their own again. There was just one major difference: we knew we had a killer album in the bag. Perhaps my vocals also played a part in making the songs feel a bit tighter; Harris Johns managed to integrate the vocals perfectly into the mix. On our debut, the vocals had been a bit too prominent. At the last minute, we found a session guitarist, Dieter Roth, who really put the icing on the cake. His distinctive, exceptional solos contributed to the musical quality and made the songs on "Heresy" truly memorable.
One of the most fascinating aspects of “Heresy” is its historical concept, something that was still relatively uncommon in thrash metal at the time. What inspired Paradox to build an entire album around a single historical narrative instead of writing a collection of unrelated songs, and do you think concept albums have become a lost art in today's metal scene?
Peter and Nigel Vogt were responsible for everything from the initial idea to the final storyline and lyrics. They pitched the story to us, and we were immediately excited because we had never heard anything like that in thrash metal before. It was something new, something special, you know. The inspiration for this concept arose when the two brothers moved into a castle in France where, back in the 12th century, Cathars had also been persecuted and murdered by the Church. The songs themselves had already been written and represented the logical musical evolution for Paradox. Consequently, with the exception of the intro to the title track "Heresy" and the outro "Castel In The Wind", we didn't compose the music to fit the lyrics; rather, we did it the other way around. There were many concept albums that followed, from bands like Iced Earth and others, but in today's saturated music market, concept albums no longer have the same impact and magic they did back then. It`s a fast living scene nowadays.
The production of “Heresy” has become almost legendary because of the difficult recording sessions, lineup changes and unexpected setbacks. Decades later, do those struggles somehow add to the album's character, making it impossible to imagine it sounding any other way?
That’s a tough question, but a good one! I don’t want to speculate, but as far as production goes, Harris Johns simply did an outstanding job. He knew exactly how the album should sound and how to give the songs the necessary punch. He was highly experienced and a great guy, too, someone who actually listened to what the musicians wanted! The lineup fell apart during the final stages of production, leaving the two original founders, who had started the band back in 1981, on their own again. There was just one major difference: we knew we had a killer album in the bag. Perhaps my vocals also played a part in making the songs feel a bit tighter; Harris Johns managed to integrate the vocals perfectly into the mix. On our debut, the vocals had been a bit too prominent. At the last minute, we found a session guitarist, Dieter Roth, who really put the icing on the cake. His distinctive, exceptional solos contributed to the musical quality and made the songs on "Heresy" truly memorable.
One of the most fascinating aspects of “Heresy” is its historical concept, something that was still relatively uncommon in thrash metal at the time. What inspired Paradox to build an entire album around a single historical narrative instead of writing a collection of unrelated songs, and do you think concept albums have become a lost art in today's metal scene?
Peter and Nigel Vogt were responsible for everything from the initial idea to the final storyline and lyrics. They pitched the story to us, and we were immediately excited because we had never heard anything like that in thrash metal before. It was something new, something special, you know. The inspiration for this concept arose when the two brothers moved into a castle in France where, back in the 12th century, Cathars had also been persecuted and murdered by the Church. The songs themselves had already been written and represented the logical musical evolution for Paradox. Consequently, with the exception of the intro to the title track "Heresy" and the outro "Castel In The Wind", we didn't compose the music to fit the lyrics; rather, we did it the other way around. There were many concept albums that followed, from bands like Iced Earth and others, but in today's saturated music market, concept albums no longer have the same impact and magic they did back then. It`s a fast living scene nowadays.
From today's perspective, what song across these two albums best captures the essence of Paradox?
Not necessarily the most popular track, but the one that contains everything the band stands for, the riffs, the melodies, the aggression and the storytelling. It is clearly the title track, "Heresy." It embodies everything that has defined Paradox, both then and now: heavy riffs combined with melodic lines that serve the song, and clear vocals. Then there is the atmosphere created by the intro and the middle section, which leads into the solo and literally explodes. The same happens with the title track "Product Of Imagination" from the debut album; these songs constantly build tension that leads to climactic peaks.
The metal world has changed dramatically since these albums first appeared. Streaming, social media and instant access have replaced tape trading and underground magazines. Do you think these two classic albums are reaching a new generation of thrash fans today in ways that would have been impossible during the original Roadrunner years?
There are two sides to the coin. Back then, there was tape trading via the postal service; today, it’s all about streaming on the internet, usually available to everyone for free. You reach far more metal fans who might never have discovered the band without the internet, but sales figures are dropping and record stores are dying out, leaving only shops for die-hard enthusiasts. The CD as a physical product will also disappear, and everything will take place exclusively online. You can only make money from music by playing lots of individual shows, because musicians don't make money on tours. Fortunately, I never made music for the money, but out of pure passion. When I step onto a stage, it has to be because I want to, not because I have to. I view the future market very negatively: fast-paced, uncontrolled, and ultimately a market completely flooded with mediocre music. It’s all about channel-surfing, or skipping tracks. People don't live with an entire album the way they used to; instead, they just click through the songs quickly. It’s quantity over quality. A label like High Roller Records represents the great hope that we haven't reached the end of the road yet.
Many younger thrash and power metal bands openly embrace the combination of technical riffing, melody and historical themes that Paradox explored decades ago. Do you hear echoes of your own musical DNA in today's scene, and does it feel rewarding to see that style continuing to evolve?
When you listen to the opening of "Death, Screaming And Pain" from our debutalbum in 1987 and compare it to Nevermore's "I Am The Dog!" in 1999, it brings a smile to my face. I’ve seen young bands from Chile or China playing our songs in their sets, and there are countless albums where I keep spotting the Paradox signature style. In all these cases, it’s purely a matter of inspiration, just as we drew inspiration from other bands ourselves. That’s completely normal, but it makes me incredibly proud. Many of these bands are technically much better these days, and I simply enjoy hearing songs by some of them that were obviously inspired by Paradox.
Every legendary album has stories that never make it into the liner notes. As these reissues celebrate an important chapter in Paradox history, what is one unforgettable memory from the writing, recording or touring cycle of these two albums that perfectly captures what life was like for the band during those explosive years?
Well, we experienced so many crazy stories in the 80s that it’s hard to single one out. September 10, 1988, immediately comes to mind, the time we played at a huge festival in Lisbon, Portugal. We flew nearly 3,000 km to play a concert that had to be cut short after just five songs because the fans, in their excitement, stormed the stage; fortunately, security grabbed us on the spur of the moment and whisked us away to another area for our own safety. It was pure euphoria, but not without danger. We were incredibly sorry that we couldn't perform our full set.
With these definitive editions giving fans the opportunity to rediscover two timeless classics, what do you hope listeners, whether they bought the original vinyl in the eighties or are hearing these albums for the first time in 2026, will take away from "Product Of Imagination" and "Heresy" after the final notes fade away?
These two albums are a testament to their era and have made metal history. There is little more to add to that. Anyone who loves speed and thrash metal is sure to appreciate “Product Of Imagination” and “Heresy”. It is not without reason that both albums are true classics of the genre.
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