As one of the most constantly evolving acts on the metal landscape, it's easy to forget that Paradise Lost began their career as one of the underpinning bands of the Northern English Doom scene. While their counterparts have in many cases remained true to the sound, or deviated into more modern ... Read review
A group of international tourists seeking fun and adventure in Brazil get a lot more than ... more
they bargained for in the suspenseful horror film PARADISE LOST. Written by first-time screenwriter Michael Arlen Ross and directed by John Stockwell (BLUE CRUSH), PARADISE LOST, the first American film to be shot completely in the South American nation, is set in the Brazilian mountains, where Alex (Josh Duhamel); his sister, Bea (Olivia Wilde); and her best friend, Amy (Beau Garrett), are preparing for an eco-tour. But when their bus crashes, they are stranded with a group of locals as well as a handful of other tourists, including Finn (Desmond Askew) and Liam (Max Brown), two Brits looking for fast times and hot women, and Pru (Melissa George), a beautiful Australian traveling on her own who takes an immediate liking to Alex. In the middle of nowhere, they find a little oasis in a surprise sandy bar, where they get to know each other, drinking and dancing until they wake up the next morning, having been drugged and robbed of just about everything, with all remnants of the bar gone. They walk into an unfriendly town, but the only person offering any help at all is Kiko (Agles Steib), who might not exactly be leading them to safety. PARADISE LOST is a well-paced thriller that features brutal torture, violence, and a terrific, breathless underwater chase through some very cool caves. The film also succeeds as an examination of the fear--warranted or not--that some Americans feel in the international community post-9/11.
Paradise Lost is a tense, unsettling horror thriller centering around a diverse group of ... more
young adventure travellers. After a terrifying bus accident maroons them in a remote Brazilian beach town, they slowly discover that the white sand beaches and lush jungles are concealing a darker, unsettling secret...
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Beautifully produced, printed in two colours throughout, illustrated with twelve ... more
engravings from the first illustrated edition published in 1688 with ribbon marker. Philip Pullman introduces the book that inspired His Dark Materials. (courtesy Bertrams)
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Advantages: Melodic and catchy, the solos are back! Disadvantages: bland, not as good as previous work
...it's easy to forget that Paradise Lost began their career as one of the underpinning bands of the Northern English Doom scene. While their counterparts have in many cases remained true to the sound, or deviated into more modern incarnations, not even Nick Holmes' distinctive vocal chords lend a nod to the fact that Paradise Lost 2005 are the same band responsible for 1990's seminal release 'Lost Paradise'. After flirtations with electronica and various ... ...the official explanation is that Paradise Lost were yet to ink a deal for the record in their homeland. Whether this is the truth or simply a bitter middle finger to the British fanbase is something for the listener to decide.
"The heaviest record we've ever done" seemed to be the most frequent description of this record emitted by Holmes' in the run up to its release. A slightly bizarre statement considering the easy going, ... more
As one of the most constantly evolving acts on the metal landscape, it's easy to forget that Paradise Lost began their career as one of the underpinning bands of the Northern English Doom scene. While their counterparts have in many cases remained true to the sound, or deviated into more modern incarnations, not even Nick Holmes' distinctive vocal chords lend a nod to the fact that Paradise Lost 2005 are the same band responsible for 1990's seminal release 'Lost Paradise'. After flirtations with electronica and various commercialisms, Paradise Lost have settled into playing a hybrid of gothic tinged, sample laden heavy rock with 2002's 'Symbol of Life' showing that they may well have finally found their feet.
Thankfully, the band clearly haven't forgotten their misery filled roots as the British audience have had to wait several months to experience this latest record. Released in Germany through GUN/BMG, the official explanation is that Paradise Lost were yet to ink a deal for the record in their homeland. Whether this is the truth or simply a bitter middle finger to the British fanbase is something for the listener to decide.
"The heaviest record we've ever done" seemed to be the most frequent description of this record emitted by Holmes' in the run up to its release. A slightly bizarre statement considering the easy going, highly polished nature of the tracks presented. While there's certainly no manic 'Shades of God' riffery here, Greg Mackintosh's soaring leads ride high throughout the album. Much to the delight of any older fans, the solo's are back!
With tracks such as 'Redshift' coming close to Linkin Park, sans hip hop influences, it's tempting to consider that the band may have chosen to tread the dangerous line of keeping older fans happy while attempting to break new markets. As is evident on 'Accept the Pain, 'Paradise Lost' has been created by taking the blueprint of 'Symbol of Life', mixing in a lashing of 'Draconian Times' guitar work, then adding a pinch of 'One Second' electro-rock. A bubbling cauldron which, in theory, should have produced the finest Paradise Lost album to date.
It's hard to be enthusiastic about this record on the first couple of listens. The tracklisting appears somewhat unremarkable, and while the mix of sounds works and should have produced some of the best songs of Paradise Lost's career, unfortunately the album lacks any of the catchy hooks evident on previous releases. 'Paradise Lost' is an album which washes over the listener in a pleasing, laid back fashion although ultimately it's hard to hum along to any of the tracks afterwards. Only the single 'Forever After' presents any sing-along qualities.
'Paradise Lost' isn't quite deserving of a bad review, there are no genuinely poor tracks here, however so little stands out that this album falls into the 'bland yet listenable' category. Older fans will appreciate many of the elements incorporated into the sound however this certainly isn't the record many fans were hoping for.
Advantages: Brilliant, melancholic, fantastic gothic metal Disadvantages: Unknown, hard to get hold of.
ParadiseLost, the sole creaters of Gothic Metal, have after 17 years of being together have produced their tenth studio album.
The whole album is very good, the single Forever After is the only track that seems out of place, much more lets run about and have lots of energy rather than the melacholy you would expect from such goth gods. Even though it doesn't flow with the rest of the album it is still a great song.
The album does need a few listens to if you are an old ParadiseLost fan, but if you are a new fan it's very good and just get's better as time goes on. The album makes you involve yourself into the album rather than it forcing itself apon you.
The last 3 songs are fantastic end to and album with a great guitar solo and the music and the lyrics are deeply moving.
This album is great for anyone who likes the new ...
Advantages: catchy and enjoyable, uncomplicated and entertaining songs, good guitars/keyboards Disadvantages: Nothing hugely original, not for those with an aversion to cheese
Released in 2000 by Nuclear Blast Records, 'Believe' is the seventh full-length by German gothic metal band Crematory. Essentially it consists of poppy and catchy, polished gothic/industrial rock/metal that lies somewhere between the more mainstream output of ParadiseLost and Rammstein, with plenty of tinkly keyboards and cheesy, sweeping synths. The vocals meanwhile are a mix of clean singing in the style of ParadiseLost's Nick Holmes alternated with booming gravelly growls, and fit well around the simple song structures.
Whilst Crematory's sound might be quite derivative and is most certainly cheesy, 'Believe' remains an energetic and uplifting album with well-constructed songs, catchy chugging riffs and enjoyable gothic rock choruses. The album works slick, rocky clean sections with melodic gothic keyboards and immensely ...
Advantages: Everything about it Disadvantages: I WANT MORE!!
I am kind of annoyed at the low number of reads this op has had because it's the only album I've reviewed with such a broad appeal! Oh wel...
How Measure A Planet?, the fifth full length (actually a double album) from The Gathering. The Gathering is a Dutch band who rose from the Doom-Death movement in the early 1990s along with the likes of Anathema, ParadiseLost and My Dying Bride. Like both ParadiseLost and Anathema they have constantly and consistently refined and advanced their sound over the years, incorporating a great deal of influence from Pink Floyd.
Essentially the theme, which runs right through the album, is that of ‘Escapism’. The idea of escapism is explored on all levels, even extending to the album cover itself, which depicts the engine of an Apollo Space Rocket.
The average length of each ...
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