Paradise Paradise

Hailed as ‘The European Metallica’, the 1995 masterpiece solidified the British band’s position at the top table of British metal. With some success already in the bag, the band’s rising status allowed them to deliver their most accomplished sound to date, and a collection of songs that are magnificently heavy, but with a cool, gothic sheen. It remains Paradise Lost’s most acclaimed and adored body of work, and era of the band. The CD also sees the band open their vaults and provide a version that comes with an extra disc of bonus and rare, unreleased material from the Draconian Times era. The 25th Anniversary edition features the re-mastered mix of 2011’s Legacy CD. It also comes furnished with new liner notes from journalist and long standing fan Nick Ruskell, a never seen before deep dive into the record’s lyrics and themes from vocalist Nick Holmes, and memories from the band.

On October 9th the multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) presents his new project Paradise Cinema. It was recorded in Dakar, Senegal in collaboration with mbalax percussionists Khadim Mbaye (saba drums) and Tons Sambe (tama drums).

Paradise Cinema is a project led by multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) with contributions from Khadim Mbaye, Tons Sambe and Laurence Pike. The first, eponymous, Paradise Cinema record, released in 2020, was recorded in Dakar and featured the dense rhythms of Mbalax music combining with Wyllie’s textural saxophone and synth playing.

British band Paradise Lost has a knack for producing dark and moody, yet very accessible metal. And that's exactly what they do on Believe in Nothing, serving up a bunch of tracks that could appeal to a wide range of music fans. Tight and melodic, "Mouth" is an excellent example of how to write a chart-topping rock song. In fact, almost exactly the same thing could be said about "Fader" and "Illumination." "Look at Me Now" is also a noteworthy tune, but probably a little too easy on the ear and thus lacking staying power. The suitably sullen "Never Again," on the other hand, gets better with each spin. In the end, Believe in Nothing doesn't quite scale the same heights as a couple of the band's previous releases, such as Shades of God and One Second…

According to the motto No filler, just killer Paradise Lost raised a lot of dust at the Bizarre Festival on 19th August 1995 in Cologne/Germany with bangers like Embers Fire, Remembrance or True Belief.Paradise Lost's LIVE AT ROCKPALAST offers not only fans but also the members of the band the opportunity to refresh their memories. In this hot stage of our career we never missed a party. It may sound stereotype, but my memories of the nineties are still suffering, tells singer Nick Holmes a little bit grinning.

Hangover Paradise is a neo-prog rock band from Holland formed few years ago, more exactly in 2010. In 2013 they came with the first offer named Mirrors, who gain quite big applause around the world, both from fans and critics as well. Musically speaking the music is on the melodic side of prog, going towards neo with some pop-ish overtones, but very well melted together those two genres. Fans of Saga, Styx, even Eloy in places can take some spins because worth it.

Paradise Cinema is a project led by multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) with contributions from Khadim Mbaye, Tons Sambe and Laurence Pike. The first, eponymous, Paradise Cinema record, released in 2020, was recorded in Dakar and featured the dense rhythms of Mbalax music combining with Wyllie’s textural saxophone and synth playing.

Last fall, British metal legends PARADISE LOST exorcised the demons and ghosts of a dreary dry spell without concerts and thrilled the world with their stunning livestream "At The Mill". Today, the band is proud to announce the captured testimony of this special night to be relaeased as live album…

In the scope of Paradise Lost's career, their eponymous release from 2005 represented the act of Hell freezing over, for it witnessed these founders of the British doom movement finally deigning to revive the sonic blueprint that made them famous in the first place, nearly a decade after seemingly abandoning it forever. Still, the general consensus was that its songs didn't quite match the band's good intentions, and so it fell to its 2007 successor, the aptly named In Requiem, to make amends and come just a few steps closer to resurrecting Paradise Lost's post-death/doom, goth-inflected middle period (marked by the classic Shades of God, Icon and Draconian Times albums)…