PARADISE LOST
Drown in darkness - The early demos

PARADISE LOST present all their classics recorded live at The Ancient Roman Theatre of Philippopolis in Plovdiv, Bulgaria featuring the Orchestra of State Opera Plovdiv and Rodna Pesen Choir. Vocalist Nick Holmes states: "We have recorded elements of orchestration many times in the studio over the last two decades, as many of our songs lend themselves well to classical arrangement. However, we have never before had the chance to play with a real orchestra in a live situation, so it was very exciting to have the opportunity to play with the Plovdiv Philharmonic and doing that in such a prestigious location as the Roman theatre." Orchestrated by conductor Levon Manukyan, who already has given the classical treatment to works by Marilyn Manson, Alice Cooper, Nirvana, Judas Priest, and many more as well as collaborating with Tarja Turunen (ex-Nightwish) and other prestigious soloists, “Symphony For The Lost” not only presents classic and current PARADISE LOST songs in an astonishing musical fashion, but also an impressive visual setting.

2CD+DVD deluxe edition with 48 page booklet.

Tracks 1&4 - Recorded at The Academy, Winter 90/91. Original versions appear on "Gothic".

Tracks 2&3 - Recorded at The Academy, Winter 1989. Original versions appear on "Lost Paradise".
Also released as "In Dub" 12" on Peaceville for a limited period.

Track 4 - Previously unreleased version.
 

Gold double vinyl limited to 500 copies

Draconian Times" is Paradise Lost's most recognized and successful album and for good reason, they managed to take a genre of Metal that didn't much recognition until the mid-90's and take it to the next level.

Doom metal and more specifically goth metal itself didn't exist that much in the 80's....outside of say Candlemass and Celtic Frost just barely touching upon the basics of the genre, and they did so with style, but nobody had done it like Paradise Lost.

Paradise Lost sound is pure grimly doom/death metal. "Draconian Times" starts out with a somber-sounding piano, excellent way to start off an album.
"Hallowed Land" is one of favorite song: the lead guitar work of Gregor Mackintosh makes this an epic fist-banger.
"The Last Time" is probably their most blatant attempt at making light of the Goth sound with guitars for a huge hit.
After that depressing-induced song comes the way more upbeat and angrier "Once Solemn".
"Elusive Cure" is one song that should have been the leading single off this album: Gregor just lets his fingers hit those wailing, somber melodies.

This is one of the better cuts off the album. "Yearn For Change" continues the song and picks the mood up a notch.
So this album is their creative peak between their older material and the new style of the band.
Even though recently their last two albums have gone back to their original style of their older material, it's all just more of a nostalgia trip.

There's enough doom and gloom here to almost combat with the previous 2 albums and enough progression that surpasses the rest of their discography.

Icons of goth and doom, PARADISE LOST will release their long-awaited, 17th album Ascensionon September 19th. The band’s first album in 5 years, following 2020’s critically acclaimed Obsidian, was produced by guitarist Gregor Mackintosh and mixed/mastered by Lawrence Mackrory. Ascension is a testament to the band’s longevity and relevance over their 35+ year career, encompassing their signature styles of gothic, death and doom fans have cherished along the way.

Ascension’s album cover fittingly features the painting The Court of Death (1870-1902) by renowned British artistGeorge Frederic Watts, which hangs in the ate Gallery in London. The painting depicts Death as an enthroned angel flanked by allegorical figures of Silence and Mystery guarding sunrise and the star of hope, while a warrior surrenders his sword and a duke his coronet, showing that worldly status offers no protection. The painting’s bleak, prophetic vision embodies Ascension’s dark, tormented soundscapes as mournful verses collide with dire, foreboding riffs