Voices – Frightened

One of the saddest parts about Akercocke going on hiatus all those years ago was the fact that after Words That Go Unspoken… and Antichrist (Earache) there was a tangible feeling that they were on course to release something truly ground-breaking. Whilst their recent release Renaissance in Extremis (Peaceville) was very welcome indeed, I couldn’t help but feel that the return to an earlier sound left that potential untapped. Continue reading

Paradise Lost Release Lyric Video For “So Much Is Lost” As New Tour Begins

Paradise Lost is releasing a remastered version of their classic album Host on March 13th via Nuclear Blast Records. The band has released their first lyric video from the album, the stunning and sad ‘So Much Is Lost’. Watch it now! Continue reading

Paradise Lost To Reissue Host Album, New Tour Dates Incoming



Long-running UK metallers Paradise Lost, who turned in one of the best albums of 2017 with Medusa, are re-issuing their classic 7th album Host via their label Nuclear Blast on March 16th. This will mark the first time the album will be pressed on vinyl, with several different limited edition options for collectors. Continue reading

A Legacy Of Brutality Part II– Nick Holmes of Paradise Lost


For such a modest gent, Paradise Lost’s Nick Holmes is one such musician who can remember the glory days of record label advances. Surely Paradise Lost wouldn’t have had access to bountiful excess, but they did indulge their rock star side. “When we started with EMI we hired Jane Seymour’s stately home to stay at while recording. We bought loads of studio equipment and had a chef and everything! It was great. That’s was the benchmark of success for us, you could get a fillet steak whenever you wanted! It was fucking ridiculous when I think about it but there was money in the industry and people bought albums! If you think its right or wrong, you get wrapped up in it because you have industry people telling you it would be a good idea. You can enter a different world easily. We did waste money on silly things and spent a fortune on booze! The bar bills were insane! It was a real cliché but we spent a lot of money on booze especially around the Host album!”

We dipped our toes in the pool of rock stardom but we never plunged in. It was like being Metallica for a day but then it was gone again. Now it’s strict budgets. I remember the first time we went to Israel and did all the tourist stuff and hung out. These days, you’re off stage and on a plane two hours later!”

Having invested Gothic Metal and created a memorable legacy, many bands have come and gone during PL’s career, splitting up and reforming on a whim. Yet Paradise Lost have endured and existed without such issues. “We need to make a living. We forfeited a life doing anything else years ago. We never had the time to have a couple of years off and reassess things. You could count the bands on one hand who could take five years out. You don’t shut down the shop just because you’re fed up.”


Such acclaim for Greg’s Vallenfyre project has been well deserved with a spark clearly ignited under Paradise Lost. Surely though at this stage in their career could talk of side projects been a concern to the productivity of Paradise Lost? “I didn’t know what he was doing on his time off. I didn’t know how much he’d got back into death metal. He asked me if I wanted to do the vocals but my head wasn’t in the right place at the time. I didn’t know I’d do it himself. It runs alongside PL fine. I keep missing their shows so I want to catch them.”

Considering Nick’s confession that he could have been a part of Vallenfyre, his involvement in death metal supergroup Bloodbath, were Holmes replaced Opeth’s Mikael Åkerfeldt comes as an even greater surprise. “It was a good two or three years after that. We’d look on the early days of death metal with great fondness. The guys in Katatonia are all four years younger than me, but that was a lot when you were all teenagers. We listed to different generations of death metal. They were listening to Deicide and I was more into the early Death stuff. The tape trading days were a great time, exciting and new. Anything that has happened with PL has been a gradual change. We had written the whole album before I did the Bloodbath stuff and already decided that there would be death metal elements.”

Vallenfyre, by Hillarie Jason

Vallenfyre, by Hillarie Jason

What must it be in a band with the guys from Katatonia, a band who have cited Paradise Lost as an influence? “Half the conversation who can name the most obscure band and who has all the old demo tapes. Jonas is very into that stuff. Bloodbath are weekend warriors, we get on a plane, play a gig then go home. It’s refreshing to play with new people and worked really well for us. Everyone is friends so there’s no negative.”

How Paradise Lost have kept relevant and free of nostalgia. “I never heard the term ‘The Peaceville Three’ until recently. We started before Anathema and My Dying Bride. I think Anathema played their first gig in Liverpool with us. As a band we don’t need to name drop or fit into a scene. We are institutionalised in making music. I’ve blown my chances of being a surgeon long ago. I could write a book but that would be about what I have done with the band. You never know!”


Primitive and Deadly – Host and Aldrahn of The Deathtrip


Since its controversial rise to prominence, in the early ‘90s black metal has continued to engage and challenge listeners’ preconceptions by mutating into challenging new forms. Acts like Arcturus, Borknagar and Dødheimsgard have pushed the limits of the genre by incorporating techno, opera and folk into the mix but while DHG’s Aldrahn provides the vocals on The Deathtrip’s visceral Deep Drone Master (Svart) that is where the similarity ends. Arising from the ranks of black metal legends Thorns, The Deathtrip is the brainchild of Host (A.K.A. Paul Groundwell of pioneering UK label Peaceville) who has sought to plough a more atavistic and primitive furrow.

Host explains how this elite meeting of minds, lead to one of the genre’s most invigorating debut records. “Kvohst (A.K.A. Mat McNerney, ex <code> Graven Pleasures, Hexvessel, Ex DHG) was going to do vocals for The Deathtrip, but he played some of the instrumental demo songs for Aldrahn, as they were in touch at the time. Aldrahn was really into them and ended up taking over the vocal duties instead. The Snorre [Ruch] connection came about because of Aldrahn’s involvement in Thorns. Aldrahn played Snorre some of the demo songs with his vocals and Snorre loved what he heard and has been a great supporter since. In regard to putting the band together it didn’t make a difference as they weren’t people I knew through Peaceville. The band grew simply from people hearing and liking those old raw demo tracks. It feels like only the music did the talking, and for that I am most grateful. The very origins of The Deathtrip though, go back to around 2003 when I made some songs just for myself to listen to, as I heard barely anything at the time which brought much magic to these ears compared to what came before.”

Founded on hypnotic, repetitive riffs and beats Deep Drone Master, may not be a throwback to the genre’s origin’s but Host maintains that keeping the sound primitive was key to recapturing some of that old magic. “Well I’m sure there was some Burzum and Darkthrone in the early days as far as creating and maintaining a ‘feeling’ goes.” Host agreed. “Some of it was also simply because when programming drum beats I didn’t want to take too much time on that, so I made a primitive pattern, looped it, and made the riffs over the top. As the tracks unfolded I just thought that maintaining that same pace and beat brought a good hypnotic element, so why mess it up for the sake of ‘creative diversity’? It’s about having time to digest the riff and fall into the monotony of the patterns.”


To some Deep Drone Master may sound like a homage to the past but as Host explains the album contains some extremely uncomfortable personal moments:

“The song ‘A Foot In Each Hell’ came about because of somebody’s suicide, but the song isn’t concentrated on or about the act itself. It is more about the fabricated kingdoms we invent to fortify the self and the powers of human control and persuasion.”

Mostly they deal abouta sentimental relationship between myself and my own subconscious mind. As well as the subconsciousness of humanity.”

Vocalist Aldrahn clarified. It is the connection between myself and humanity as well as the disconnection. It would be easier to answer for each song, but still it’s emotions and thoughts on paper. Many of these thoughts and feelings are difficult to describe, as they belong to my own perception of time and space an dare thus very personal.”

“Making Me” for example, deals about the complete absence of love, the total isolation from all warmth in life and then becoming it, like wearing it as an entity. A lot of them deal about journeying through the darker aspects of the mind, facing up with all sorts of ugliness inside and then forcing through it until it’s done.”

This all-star Norse/English act also feature the drum work of sometime My Dying Bride and Thine sticksman Dan ‘Storm’ Mullins and bassist Jon T. Wesseltoft. Host clearly valued the input of friends who brought his vision to life! “Well it was great to have Jon involved as he was another person who was a big appreciator of the demo tracks from early on, which he heard from Snorre I think. Bass was non-intrusive, so was sitting underneath nicely, keeping the pulse. It was the same for the drums. The idea was to keep the beat simple and keep it running. No prog rhythms for us thanks! ha-ha!”

The icy minimalistic approach does well to convey a harrowing sense of isolation. Much speculation surrounds the question of if The Deathtrip will continue to function as a studio project or if live ceremonies are on the cards. “I see it as more of a band.” Host cautiously approached. “There will be much more music regardless. We have had some interesting offers but it depends on many things such as DHG’s schedule.”


The clandestine nature of its creation and the pleasantly unexpected re-appearance of DHG to the live circuit this year, it will come as a surprise that a second record from The Deathtrip may not be that far away. “Well I had made quite a lot of songs and they were going perhaps even more trance-like and simplistic, but since then, the new riffs I’ve been making have reverted back a little more towards what was being done on the earlier demo tracks, with a bit more ‘attack’. It’s certainly not just replicating the old style though. There is more depth and feeling to the formation of the riffs. Some songs will need to be re-arranged but there is easily an album’s worth of ideas to focus on.” Host exclaimed. “A new album for this year seems rather optimistic even though I’d originally hoped it might’ve been possible. Will just keep writing, and maybe start some of the recording later in the year, as it is a busy year for Aldrahn anyway.”