Paradise Lost

Founded in 1988 in Halifax, West Yorkshire, the band are not only known as one of the most distinctive acts in metal – their music defined the gothic subgenre and raised doom metal to a new level – they are also considered pioneers of an entire musical generation. Never ones to hesitate to explore undiscovered paths, PARADISE LOST have encompassed many genres during their career – from their death metal beginnings to the more mainstream electronic dark-pop album »Host«,electronic influences on »Symbol Of Life« alongside majestic gothic moments. Vocalist Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, along with bassist Steve Edmondson have never ceased to follow their own vision. The quartet has been an inseparable unit since its inception with only the drummer’s position changing hands several times. With their new drum prodigy, the 22-year-old Finn Waltteri Väyrynen, behind the kit the legends are now returning to their early beginnings. The band have already brought back the sound of their roots with their critically acclaimed last album »The Plague Within«, and now it has become clearer than ever that they’re continuing the theme:
»Medusa« will be PARADISE LOST’s heaviest full-length release of the past 15 years, melding crushing doom metal with Nick’s harsh death growls and raw organic sounds, heralding a new era of pure Northern misery.
Recorded at Orgone Studios, in the misty countryside of Woburn, with producer Jaime Gomez Arellano (GHOST, ULVER, CATHEDRAL), a truly brutal beast of an album has been born. It not only expands PARADISE LOST’s musical boundaries, but also unveils the band’s darkest thoughts. The meaninglessness of our own existence is expressed through bitter yet laconic lyrics, typified by their eighth-minute opening track ‘Fearless Sky’:
Believing in a higher power, or a deeper meaning of our human existence, is a concept that the band has always denied. ‘Gods of Ancient’ deals with the more plausible concept of ancient paganism, and how worshipping the sun, moon and stars is more understandable than any man-made deity. In a similar way, ‘No Passage for the Dead’ also settles old scores with blind faith and the fact that many world religions solely aim for a glorious life after death, instead of cherishing the short time we have on earth:
“The possibility of entrance into some heavenly kingdom after death is such a ridiculous man made notion, pretty much like a medicine man in the old west. I imagine it was initially a theory invented to profit clever individuals, aimed at weak, frightened people. Accepting that there is nothing else after death isn’t a nice thought, but at the same time it can also make you appreciate the time you have, and live life to the fullest.”
There are some sparks of hope that shine through on the song ‘Blood and Chaos’, but in the end it all comes down to a final disillusioning conclusion: that humanity is only seldom worth living on this planet. This is a perception that Nick considers in the eighth, and concluding, track of the album, ‘Until the Grave’:
“Preying on a considered weakness for superiority comes in many shapes and forms, from bullying in the playground, to the extinction of entire populations. Ideas around this song are based on: innocents lost for no reason, slaughter founded on unfounded hatred, fear, and gradual dehumanization based on lies and propaganda.”
Nick Holmes | Vocals
Greg Mackintosh | Lead guitar
Aaron Aedy | Rhythm guitar
Steve Edmondson | Bass guitar
Waltteri Väyrynen | Drums


SÓLSTAFIR are different. Their unique blend of metal with beautiful melodies, psychedelic moments and a strong undercurrent of classic / hard rock comes as varied and at times appealingly bizarre as the landscapes of their native Iceland. Their fifth full-length "Ótta" is the logical continuation of the musical course this four-piece adopted on the highly acclaimed forerunner "Svartir Sandar" (2011). Expect the unexpected, such as seduction by subtle strings or a hypnotic banjo. None of this was apparent when SÓLSTAFIR released their album debut "Í Blóði og Anda", which translates as 'In Blood and Spirit' in 2002. Instead of today's Icelandic gravel throated siren chants, frontman Aðalbjörn Tryggvason spit forth vitriolic crust-like vocals and the ripping guitars were clearly black metal inspired. Yet the band was as clearly identifiable back then as now and along their way with the next albums "Masterpiece of Bitterness" (2005) and "Köld" (2009) introducing new elements in a continuous evolution. SÓLSTAFIR's music is as much the product of Arctic blizzards as of red hot volcanic magma, erupting geysers, lush green pastures, and salty waves. With "Ótta" the Icelanders touch something ancient and timeless, while defying easy categorisation. This album needs to be heard again and again to peel back layers of details, each different and yet always revealing the same: great songs – all of them. The song titles of "Ótta" form a concept based on an old Icelandic system of time keeping similar to the monastic hours called "Eykt" ("eight"). The 24 hour day was divided into 8 parts of 3 hours each. The album starts at midnight, the beginning of "Lágnætti" ("low night"), continues through each Eyktir of the day and ends with "Náttmál" ("nighttime") from 21:00 to 0:00. This form of time keeping is more open than the relentless ticking of modern times, where each second is made to count, which turns humanity into cocks of the corporate clockwork. Now SÓLSTAFIR give you the antidote. Just lean back, close your eyes, take your time and lose yourself in this masterpiece called "Ótta"!

The Atlas Moth

In April 2007, a mutual desire to play, a deep love for the almighty riff, and more than just a little blind luck drew together five young men from Chicago, and nine months later, they had a five-song EP, Pray For Tides, completed and a label, Witch Trial Records, to release it. Fast-forward less than three years and The Atlas Moth have made massive strides, touring relentlessly across the nation and playing countless shows with their friends and brothers in Nachtmystium, Zoroaster, Pentagram, Yakuza, Saviours, Intronaut, Wolves in the Throne Room, Coalesce, Battlefieds, Minsk, Plague Bringer, Samothrace, andWhy Intercept? With influences ranging from the Deftones to Neurosis, Cave In to Quicksand, and pulling in pieces from all that’s heavy in between, The Atlas Moth have carefully perfected their signature blend of bone-shaking heaviness and overwhelming urgency, adding in startling moments of clarity that allow the melodies to shine through the mire. Their swamp-worthy sludge epics are heavier than sin, a call for cleansing and nothing short of brutally honest.

The atlas moth itself lives for only a few weeks, but the band to which it lent its name is in it for the long haul. The Atlas Moth have taken their sweet time in writing and recording their Candlelight debut, road-testing each new jam as guitarist/ keyboardist and engineer Andrew Ragin slaved over the boards in search of that perfect sound. This meticulous approach to songwriting means that every song they recorded has a story of its own, and bears the mark of days spent driving through endless fields and nights spent laying their hearts and instruments bare to an army of strangers. With the completion of their jaw-dropping debut album for Candlelight, A Glorified Piece of Blue- Sky, and endless tour dates on the horizon, The Atlas Moth have only begun to rock.

Green Death


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