Paradise

Medusa is the forthcoming fifteenth studio album from Yorkshire doom metal band Paradise Lost. Guitarist Greg Mackintosh said of the record, “The new album will be slower, sludgier and more doom filled than ever before.” He adds that it will be “eight riff laden monster tracks of sheer Northern misery.” It will be the first album with new drummer Waltteri Väyrynen, who took over from Adrian Erlandsson after the release of 'The Plague Within' in 2015. In support of the albums release, the band announced plans for a European tour in late 2017, with support from Pallbearer and Sinistro.

Paradise Lost formed in Halifax, West Yorkshire in 1988 & are known for being the founders of the Gothic Death/Doom Metal genre; a style fully brought into existence with their genre-defining second album, the highly influential Gothic. Lost Paradise was the band's debut album, released in 1990 & one of the early highlights in the formative years of Peaceville. Featuring more death metal influences, Paradise Lost created a dark & atmospheric style of brutal death metal, as opposed to one based on speed. The album was recorded at Academy Studios (My Dying Bride, Anathema, Cradle of Filth) in Yorkshire, England.

Prepare to swing with two '60s comedy scores by a pair of famous composers who are more connected than one might think: besides being friends, John Williams was at one time the piano player for Henry Mancini on soundtracks as famous as Peter Gunn.

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).

After successfully establishing themselves as one of America's best commercial progressive rock bands of the late '70s with albums like The Grand Illusion and Pieces of Eight, Chicago's Styx had taken a dubious step towards pop overkill with singer Dennis DeYoung's ballad "Babe." The centerpiece of 1979's uneven Cornerstone album, the number one single sowed the seeds of disaster for the group by pitching DeYoung's increasingly mainstream ambitions against the group's more conservative songwriters, Tommy Shaw and James "JY" Young. Hence, what had once been a healthy competitive spirit within the band quickly deteriorated into bitter co-existence during the sessions for 1980's Paradise Theater – and all-out warfare by the time of 1983's infamous Kilroy Was Here. For the time being, however, Paradise Theater seemed to represent the best of both worlds, since its loose concept about the roaring '20s heyday and eventual decline of an imaginary theater (used as a metaphor for the American experience in general, etc., etc.) emed to satisfy both of the band's camps with its return to complex hard rock (purists Shaw and JY) while sparing no amount of pomp and grandeur (DeYoung).