Paradise Lost Bio:
In a career that has spanned two full decades, Paradise Lost have sold a staggering two million albums worldwide. Their constant reinvention and brazen attitude to musical experimentation has always allowed them to maintain a constant relevance despite the myriad fads and short-lived scenes that have emerged over the last two decades. Indeed, few bands that prove so very influential in their infancy maintain the quality of output that Paradise Lost have.
It was in 1991 (three years after the band's formation in Halifax in 1988) that the Gothic album was released. This record helped form the basis of an entirely new genre, gothic metal. Even now, fifteen years later, the influence of Paradise Lost is clearly visible in bands like HIM and The Rasmus.
Since then, the band - named after John Milton's epic 1667 poem - has released a number of musical highlights and genre-merging masterpieces. Instead of replicating their achievement with Gothic, the band turned to more modern forms of heavy metal with their next two albums Shades of God (1992) and Icon (1993), their trademark melancholy still apparent.
Draconian Times (1995) saw the band fuse bold Gothic soundscapes with traditional metal influences, leading to their most commercially successful album to date. The band's darkwave/alternative influences were further seen on the release of 1997s One Second album where they experimented with electronic instruments, adding to their diverse sound.
As Paradise Lost bravely progressed further from their metal past, 1999's Host was the biggest development the band made in terms of style, steering into progressive electronics. For Believe in Nothing (2001), the band hired producer John Fryer (Nine Inch Nails, HIM), who gave the almost hymn-like dark rock a painfully intense injection. That album was also the end of their dalliance with pleasant pop mannerisms and nostalgic '80s flair.
On Paradise Lost's 2002 album Symbol of Life, they returned to their early roots. Together with producer Rhys Fulber (Fear Factory, Front Line Assembly), vocalist Nick Holmes, guitarists Gregor Mackintosh and Aaron Aedy, bassist Steve Edmondson and drummer Lee Morris created an opus bursting with the power of early releases but retaining their familiar somber sound. Paradise Lost demonstrated their expansive influences even more when the album featured their own take on Dead Can Dance's "Xavier."
Paradise Lost's self-titled tenth studio album was a red-hot return to the fray, with some of the heaviest work the band has ever done. Again recorded with duo Rhys Fulber and Greg Reely, and with drummer Jeff Singer taking the place of Lee Morris, it encapsulated a newfound maturity combined with the trademark guitar-driven PL sound.
In 2006, PARADISE LOST and Century Media Records announced the bandâ€™s worldwide signing to the record label. European Label Manager Antje Lange commented on the signing, â€œWe feel very honored to welcome PARADISE LOST to The Century Family. PARADISE LOST are an extremely influential band with the creative potential for a very bright future. As their new record label, we look forward to working to expand their global fan base."
After reviewing several offers, PARADISE LOST chose to sign to Century Media worldwide. Vocalist Nick Holmes states, â€œItâ€™s great to be on a label with so many metal bands and such a heritage. This worldwide deal will give us a chance to have a crack at the U.S."
Paradise Lost recently finished recording their 11th album, In Requiem, with producer Rhys Fulber. The album will be mixed by Mike Fraser (AC/DC, Aerosmith, Metallica), and is scheduled for a June release. This fall, the band will embark on only their third American tour ever, as direct support to Finnish symphonic metal heroes Nightwish.