In the beginning there was doom metal, and it was good. But in the late '80s, the sludgy Black Sabbath-derived doom sound that had emerged earlier in the decade gave way to the slightly more uptempo, medieval approach of Switzerland's Celtic Frost and the U.K.'s Paradise Lost. These influences gave doom metal new textures that would eventually form the basis of gothic metal. Gothic metal lightened up the doom aesthetic by revisiting the morbid surrealism of proto-goth rockers Bauhaus and the proto-metal stylings of death rockers Christian Death. In the '90s, the addition of keyboards and angelic female voices by bands like Italy's Lacuna Coil further established gothic metal's more delicate, intricate aesthetic. New York's brooding Type O Negative was palatable enough to find alternative success, while British groups like Cradle of Filth and Anathema spawned entirely new scenes throughout Europe.