#paradise-lost — Public Fediverse posts

Time for coffee and some doom 🤘

https://paradiselostofficial.bandcamp.com/album/obsidian

#ParadiseLost

Time for coffee and some doom 🤘

https://paradiselostofficial.bandcamp.com/album/obsidian

#ParadiseLost

Time for coffee and some doom 🤘

https://paradiselostofficial.bandcamp.com/album/obsidian

#ParadiseLost

Time for coffee and some doom 🤘

https://paradiselostofficial.bandcamp.com/album/obsidian

#ParadiseLost

Time for coffee and some doom 🤘

https://paradiselostofficial.bandcamp.com/album/obsidian

#ParadiseLost

I’ve been slinging positive words about the relatively unknown Aussie Goth-doom crew The Eternal since 2018, when I was first captivated by their Waiting for the Eternal Dawn opus. It was like a variation on classic Peaceville doom mixed with acts like To Die For and H.I.M., and it worked despite the mammoth and unreasonable song runtimes. 2024s Skinwalker kept the winning formula while dialing back the song lengths a bit, and it was another win because the band have such a sharp handle on their chosen genre and style. Their early 2026 EP showed their mastery firmly in place, and now we get their 8th full-length, Obscured Horizons. The core sound remains somewhat intact, but this time they’ve moved further away from the 10-minute song lengths and smoothed out their presentation to make it significantly less heavy than before. It feels like a lite version of their Goth-doom style with a greater emphasis on melody and hooks. Their charm and songwriting guile are still present, so the new approach works more often than not, but have they lost essential depth and boldness in their special sadboi broth?

The album kicks off well with a typically downcast but gripping number, “Lament for the Hollow,” that showcases the moody, melancholic style The Eternal do so well. It’s hypnotic, easily digestible, and glum as fook, and that’s why you come to this particular show. It has shades of Paradise Lost and Dawn of Solace, but it’s uniquely them, and it kicks mopey ass. “Existing to Expire” sounds like a marriage between Paradise Lost’s One Second era and Lacrimas Profundere, and that’s a nice neighborhood to stop and have a good cry. Did I mention it’s sticky as hell too? It is. From here, Obscured Horizons settles into a very grey comfort zone of forlorn balladry and not-quite-metal Gothic exposition. Tracks like the engaging “Colours Fade” offer all the despair and negative feelings you want, but in a very light, melodic way with subtle touches of Voyager. This particular vibe carries throughout most of the album.

This is an easy-listening, drift-away kind of platter, with each song offering another bleak little cloud to float on as you come to grips with your inner pain. “I’ve Seen the Dream” feels especially weepy, with lyrics that speak clearly of loss and coping with the aftermath. It actually stings a bit if you really focus on what is being sung. By the time the 7-plus minutes of “Liminality” arrives, you may begin to sense that the album is rather one-note, with no real peaks and valleys in heaviness or pacing. The Eternal was never a crushingly heavy band, but they explored the heavier elements of doom, doom-death, and melodoom much more than they’re doing here. While no song is weak or unnecessary, taken together, they all start to blur into a graveyard grey mush by the 3/4 mark with so little deviation in approach. The only time a death roar appears is in the opening moments of “Liminality,” and it makes you long for more harsh elements to punctuate the slick, smooth Goth rocking. Whether it’s a booming death bellow, hostile riff, or dissonant squeal, the material screams for something, anything heavy as it floats from one ethereal vista to the next. That said, the title track is super hooky with just the right amount of pathos, and closer “Awaken” feels grandiose and sweeping, dragging in alt-rock elements without destabilizing the essential Gothery. At 51 minutes, this is a short album for The Eternal, and maybe it was wise to curtail the length given the monotone soundscape.

As always, Mark Kelson’s Gothic crooning is the main attraction here. He was born to sing gloomy tales of misadventure and heartbreak, and he does so with a smooth, unforced grace. I’ve become a big fan of his work over the years; I just wish his vocals weren’t so restrained and “safe” here. I miss the forays into Peaceville doom-death groaning and grunting because they set off the cleans so well and made them feel all the more poignant. Kelson and Richie Poate layer soft, nonthreatening Goth riffs and dreamy noodling everywhere, only occasionally offering something a bit harder or meaner (basically the first minute-and-change of “Liminality”). Though the music they craft is pretty and moody, it can end up pretty sleepy at times. I miss the swings from heavy to soft riffage that made Waiting for the Endless Dawn feel so dynamic. The songwriting itself is solid as always; it’s just that the album is too held back and constrained to rise to the same level as their prior releases.

I always assumed that if The Eternal ever tightened their songs into the 4-6 minute range, they could drop a truly mammoth sadboi platter on us. They did their part to tighten, but in the process they leeched nearly all the metal out of the end product. Obscured Horizons offers good to very good gloom rock by a band skilled enough to pull it off, but it’s not as captivating as their prior platters. Good stuff, but I want MOAR. I guess I’m never satisfied.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: September 18th, 2026

I’ve been slinging positive words about the relatively unknown Aussie Goth-doom crew The Eternal since 2018, when I was first captivated by their Waiting for the Eternal Dawn opus. It was like a variation on classic Peaceville doom mixed with acts like To Die For and H.I.M., and it worked despite the mammoth and unreasonable song runtimes. 2024s Skinwalker kept the winning formula while dialing back the song lengths a bit, and it was another win because the band have such a sharp handle on their chosen genre and style. Their early 2026 EP showed their mastery firmly in place, and now we get their 8th full-length, Obscured Horizons. The core sound remains somewhat intact, but this time they’ve moved further away from the 10-minute song lengths and smoothed out their presentation to make it significantly less heavy than before. It feels like a lite version of their Goth-doom style with a greater emphasis on melody and hooks. Their charm and songwriting guile are still present, so the new approach works more often than not, but have they lost essential depth and boldness in their special sadboi broth?

The album kicks off well with a typically downcast but gripping number, “Lament for the Hollow,” that showcases the moody, melancholic style The Eternal do so well. It’s hypnotic, easily digestible, and glum as fook, and that’s why you come to this particular show. It has shades of Paradise Lost and Dawn of Solace, but it’s uniquely them, and it kicks mopey ass. “Existing to Expire” sounds like a marriage between Paradise Lost’s One Second era and Lacrimas Profundere, and that’s a nice neighborhood to stop and have a good cry. Did I mention it’s sticky as hell too? It is. From here, Obscured Horizons settles into a very grey comfort zone of forlorn balladry and not-quite-metal Gothic exposition. Tracks like the engaging “Colours Fade” offer all the despair and negative feelings you want, but in a very light, melodic way with subtle touches of Voyager. This particular vibe carries throughout most of the album.

This is an easy-listening, drift-away kind of platter, with each song offering another bleak little cloud to float on as you come to grips with your inner pain. “I’ve Seen the Dream” feels especially weepy, with lyrics that speak clearly of loss and coping with the aftermath. It actually stings a bit if you really focus on what is being sung. By the time the 7-plus minutes of “Liminality” arrives, you may begin to sense that the album is rather one-note, with no real peaks and valleys in heaviness or pacing. The Eternal was never a crushingly heavy band, but they explored the heavier elements of doom, doom-death, and melodoom much more than they’re doing here. While no song is weak or unnecessary, taken together, they all start to blur into a graveyard grey mush by the 3/4 mark with so little deviation in approach. The only time a death roar appears is in the opening moments of “Liminality,” and it makes you long for more harsh elements to punctuate the slick, smooth Goth rocking. Whether it’s a booming death bellow, hostile riff, or dissonant squeal, the material screams for something, anything heavy as it floats from one ethereal vista to the next. That said, the title track is super hooky with just the right amount of pathos, and closer “Awaken” feels grandiose and sweeping, dragging in alt-rock elements without destabilizing the essential Gothery. At 51 minutes, this is a short album for The Eternal, and maybe it was wise to curtail the length given the monotone soundscape.

As always, Mark Kelson’s Gothic crooning is the main attraction here. He was born to sing gloomy tales of misadventure and heartbreak, and he does so with a smooth, unforced grace. I’ve become a big fan of his work over the years; I just wish his vocals weren’t so restrained and “safe” here. I miss the forays into Peaceville doom-death groaning and grunting because they set off the cleans so well and made them feel all the more poignant. Kelson and Richie Poate layer soft, nonthreatening Goth riffs and dreamy noodling everywhere, only occasionally offering something a bit harder or meaner (basically the first minute-and-change of “Liminality”). Though the music they craft is pretty and moody, it can end up pretty sleepy at times. I miss the swings from heavy to soft riffage that made Waiting for the Endless Dawn feel so dynamic. The songwriting itself is solid as always; it’s just that the album is too held back and constrained to rise to the same level as their prior releases.

I always assumed that if The Eternal ever tightened their songs into the 4-6 minute range, they could drop a truly mammoth sadboi platter on us. They did their part to tighten, but in the process they leeched nearly all the metal out of the end product. Obscured Horizons offers good to very good gloom rock by a band skilled enough to pull it off, but it’s not as captivating as their prior platters. Good stuff, but I want MOAR. I guess I’m never satisfied.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: September 18th, 2026

I’ve been slinging positive words about the relatively unknown Aussie Goth-doom crew The Eternal since 2018, when I was first captivated by their Waiting for the Eternal Dawn opus. It was like a variation on classic Peaceville doom mixed with acts like To Die For and H.I.M., and it worked despite the mammoth and unreasonable song runtimes. 2024s Skinwalker kept the winning formula while dialing back the song lengths a bit, and it was another win because the band have such a sharp handle on their chosen genre and style. Their early 2026 EP showed their mastery firmly in place, and now we get their 8th full-length, Obscured Horizons. The core sound remains somewhat intact, but this time they’ve moved further away from the 10-minute song lengths and smoothed out their presentation to make it significantly less heavy than before. It feels like a lite version of their Goth-doom style with a greater emphasis on melody and hooks. Their charm and songwriting guile are still present, so the new approach works more often than not, but have they lost essential depth and boldness in their special sadboi broth?

The album kicks off well with a typically downcast but gripping number, “Lament for the Hollow,” that showcases the moody, melancholic style The Eternal do so well. It’s hypnotic, easily digestible, and glum as fook, and that’s why you come to this particular show. It has shades of Paradise Lost and Dawn of Solace, but it’s uniquely them, and it kicks mopey ass. “Existing to Expire” sounds like a marriage between Paradise Lost’s One Second era and Lacrimas Profundere, and that’s a nice neighborhood to stop and have a good cry. Did I mention it’s sticky as hell too? It is. From here, Obscured Horizons settles into a very grey comfort zone of forlorn balladry and not-quite-metal Gothic exposition. Tracks like the engaging “Colours Fade” offer all the despair and negative feelings you want, but in a very light, melodic way with subtle touches of Voyager. This particular vibe carries throughout most of the album.

This is an easy-listening, drift-away kind of platter, with each song offering another bleak little cloud to float on as you come to grips with your inner pain. “I’ve Seen the Dream” feels especially weepy, with lyrics that speak clearly of loss and coping with the aftermath. It actually stings a bit if you really focus on what is being sung. By the time the 7-plus minutes of “Liminality” arrives, you may begin to sense that the album is rather one-note, with no real peaks and valleys in heaviness or pacing. The Eternal was never a crushingly heavy band, but they explored the heavier elements of doom, doom-death, and melodoom much more than they’re doing here. While no song is weak or unnecessary, taken together, they all start to blur into a graveyard grey mush by the 3/4 mark with so little deviation in approach. The only time a death roar appears is in the opening moments of “Liminality,” and it makes you long for more harsh elements to punctuate the slick, smooth Goth rocking. Whether it’s a booming death bellow, hostile riff, or dissonant squeal, the material screams for something, anything heavy as it floats from one ethereal vista to the next. That said, the title track is super hooky with just the right amount of pathos, and closer “Awaken” feels grandiose and sweeping, dragging in alt-rock elements without destabilizing the essential Gothery. At 51 minutes, this is a short album for The Eternal, and maybe it was wise to curtail the length given the monotone soundscape.

As always, Mark Kelson’s Gothic crooning is the main attraction here. He was born to sing gloomy tales of misadventure and heartbreak, and he does so with a smooth, unforced grace. I’ve become a big fan of his work over the years; I just wish his vocals weren’t so restrained and “safe” here. I miss the forays into Peaceville doom-death groaning and grunting because they set off the cleans so well and made them feel all the more poignant. Kelson and Richie Poate layer soft, nonthreatening Goth riffs and dreamy noodling everywhere, only occasionally offering something a bit harder or meaner (basically the first minute-and-change of “Liminality”). Though the music they craft is pretty and moody, it can end up pretty sleepy at times. I miss the swings from heavy to soft riffage that made Waiting for the Endless Dawn feel so dynamic. The songwriting itself is solid as always; it’s just that the album is too held back and constrained to rise to the same level as their prior releases.

I always assumed that if The Eternal ever tightened their songs into the 4-6 minute range, they could drop a truly mammoth sadboi platter on us. They did their part to tighten, but in the process they leeched nearly all the metal out of the end product. Obscured Horizons offers good to very good gloom rock by a band skilled enough to pull it off, but it’s not as captivating as their prior platters. Good stuff, but I want MOAR. I guess I’m never satisfied.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: September 18th, 2026

I’ve been slinging positive words about the relatively unknown Aussie Goth-doom crew The Eternal since 2018, when I was first captivated by their Waiting for the Eternal Dawn opus. It was like a variation on classic Peaceville doom mixed with acts like To Die For and H.I.M., and it worked despite the mammoth and unreasonable song runtimes. 2024s Skinwalker kept the winning formula while dialing back the song lengths a bit, and it was another win because the band have such a sharp handle on their chosen genre and style. Their early 2026 EP showed their mastery firmly in place, and now we get their 8th full-length, Obscured Horizons. The core sound remains somewhat intact, but this time they’ve moved further away from the 10-minute song lengths and smoothed out their presentation to make it significantly less heavy than before. It feels like a lite version of their Goth-doom style with a greater emphasis on melody and hooks. Their charm and songwriting guile are still present, so the new approach works more often than not, but have they lost essential depth and boldness in their special sadboi broth?

The album kicks off well with a typically downcast but gripping number, “Lament for the Hollow,” that showcases the moody, melancholic style The Eternal do so well. It’s hypnotic, easily digestible, and glum as fook, and that’s why you come to this particular show. It has shades of Paradise Lost and Dawn of Solace, but it’s uniquely them, and it kicks mopey ass. “Existing to Expire” sounds like a marriage between Paradise Lost’s One Second era and Lacrimas Profundere, and that’s a nice neighborhood to stop and have a good cry. Did I mention it’s sticky as hell too? It is. From here, Obscured Horizons settles into a very grey comfort zone of forlorn balladry and not-quite-metal Gothic exposition. Tracks like the engaging “Colours Fade” offer all the despair and negative feelings you want, but in a very light, melodic way with subtle touches of Voyager. This particular vibe carries throughout most of the album.

This is an easy-listening, drift-away kind of platter, with each song offering another bleak little cloud to float on as you come to grips with your inner pain. “I’ve Seen the Dream” feels especially weepy, with lyrics that speak clearly of loss and coping with the aftermath. It actually stings a bit if you really focus on what is being sung. By the time the 7-plus minutes of “Liminality” arrives, you may begin to sense that the album is rather one-note, with no real peaks and valleys in heaviness or pacing. The Eternal was never a crushingly heavy band, but they explored the heavier elements of doom, doom-death, and melodoom much more than they’re doing here. While no song is weak or unnecessary, taken together, they all start to blur into a graveyard grey mush by the 3/4 mark with so little deviation in approach. The only time a death roar appears is in the opening moments of “Liminality,” and it makes you long for more harsh elements to punctuate the slick, smooth Goth rocking. Whether it’s a booming death bellow, hostile riff, or dissonant squeal, the material screams for something, anything heavy as it floats from one ethereal vista to the next. That said, the title track is super hooky with just the right amount of pathos, and closer “Awaken” feels grandiose and sweeping, dragging in alt-rock elements without destabilizing the essential Gothery. At 51 minutes, this is a short album for The Eternal, and maybe it was wise to curtail the length given the monotone soundscape.

As always, Mark Kelson’s Gothic crooning is the main attraction here. He was born to sing gloomy tales of misadventure and heartbreak, and he does so with a smooth, unforced grace. I’ve become a big fan of his work over the years; I just wish his vocals weren’t so restrained and “safe” here. I miss the forays into Peaceville doom-death groaning and grunting because they set off the cleans so well and made them feel all the more poignant. Kelson and Richie Poate layer soft, nonthreatening Goth riffs and dreamy noodling everywhere, only occasionally offering something a bit harder or meaner (basically the first minute-and-change of “Liminality”). Though the music they craft is pretty and moody, it can end up pretty sleepy at times. I miss the swings from heavy to soft riffage that made Waiting for the Endless Dawn feel so dynamic. The songwriting itself is solid as always; it’s just that the album is too held back and constrained to rise to the same level as their prior releases.

I always assumed that if The Eternal ever tightened their songs into the 4-6 minute range, they could drop a truly mammoth sadboi platter on us. They did their part to tighten, but in the process they leeched nearly all the metal out of the end product. Obscured Horizons offers good to very good gloom rock by a band skilled enough to pull it off, but it’s not as captivating as their prior platters. Good stuff, but I want MOAR. I guess I’m never satisfied.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: September 18th, 2026

I’ve been slinging positive words about the relatively unknown Aussie Goth-doom crew The Eternal since 2018, when I was first captivated by their Waiting for the Eternal Dawn opus. It was like a variation on classic Peaceville doom mixed with acts like To Die For and H.I.M., and it worked despite the mammoth and unreasonable song runtimes. 2024s Skinwalker kept the winning formula while dialing back the song lengths a bit, and it was another win because the band have such a sharp handle on their chosen genre and style. Their early 2026 EP showed their mastery firmly in place, and now we get their 8th full-length, Obscured Horizons. The core sound remains somewhat intact, but this time they’ve moved further away from the 10-minute song lengths and smoothed out their presentation to make it significantly less heavy than before. It feels like a lite version of their Goth-doom style with a greater emphasis on melody and hooks. Their charm and songwriting guile are still present, so the new approach works more often than not, but have they lost essential depth and boldness in their special sadboi broth?

The album kicks off well with a typically downcast but gripping number, “Lament for the Hollow,” that showcases the moody, melancholic style The Eternal do so well. It’s hypnotic, easily digestible, and glum as fook, and that’s why you come to this particular show. It has shades of Paradise Lost and Dawn of Solace, but it’s uniquely them, and it kicks mopey ass. “Existing to Expire” sounds like a marriage between Paradise Lost’s One Second era and Lacrimas Profundere, and that’s a nice neighborhood to stop and have a good cry. Did I mention it’s sticky as hell too? It is. From here, Obscured Horizons settles into a very grey comfort zone of forlorn balladry and not-quite-metal Gothic exposition. Tracks like the engaging “Colours Fade” offer all the despair and negative feelings you want, but in a very light, melodic way with subtle touches of Voyager. This particular vibe carries throughout most of the album.

This is an easy-listening, drift-away kind of platter, with each song offering another bleak little cloud to float on as you come to grips with your inner pain. “I’ve Seen the Dream” feels especially weepy, with lyrics that speak clearly of loss and coping with the aftermath. It actually stings a bit if you really focus on what is being sung. By the time the 7-plus minutes of “Liminality” arrives, you may begin to sense that the album is rather one-note, with no real peaks and valleys in heaviness or pacing. The Eternal was never a crushingly heavy band, but they explored the heavier elements of doom, doom-death, and melodoom much more than they’re doing here. While no song is weak or unnecessary, taken together, they all start to blur into a graveyard grey mush by the 3/4 mark with so little deviation in approach. The only time a death roar appears is in the opening moments of “Liminality,” and it makes you long for more harsh elements to punctuate the slick, smooth Goth rocking. Whether it’s a booming death bellow, hostile riff, or dissonant squeal, the material screams for something, anything heavy as it floats from one ethereal vista to the next. That said, the title track is super hooky with just the right amount of pathos, and closer “Awaken” feels grandiose and sweeping, dragging in alt-rock elements without destabilizing the essential Gothery. At 51 minutes, this is a short album for The Eternal, and maybe it was wise to curtail the length given the monotone soundscape.

As always, Mark Kelson’s Gothic crooning is the main attraction here. He was born to sing gloomy tales of misadventure and heartbreak, and he does so with a smooth, unforced grace. I’ve become a big fan of his work over the years; I just wish his vocals weren’t so restrained and “safe” here. I miss the forays into Peaceville doom-death groaning and grunting because they set off the cleans so well and made them feel all the more poignant. Kelson and Richie Poate layer soft, nonthreatening Goth riffs and dreamy noodling everywhere, only occasionally offering something a bit harder or meaner (basically the first minute-and-change of “Liminality”). Though the music they craft is pretty and moody, it can end up pretty sleepy at times. I miss the swings from heavy to soft riffage that made Waiting for the Endless Dawn feel so dynamic. The songwriting itself is solid as always; it’s just that the album is too held back and constrained to rise to the same level as their prior releases.

I always assumed that if The Eternal ever tightened their songs into the 4-6 minute range, they could drop a truly mammoth sadboi platter on us. They did their part to tighten, but in the process they leeched nearly all the metal out of the end product. Obscured Horizons offers good to very good gloom rock by a band skilled enough to pull it off, but it’s not as captivating as their prior platters. Good stuff, but I want MOAR. I guess I’m never satisfied.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: September 18th, 2026

The Fallen by A.M. Kent

The Fallen by A.M. Kent

The Fallen by A.M. Kent

The Fallen by A.M. Kent

The Fallen by A.M. Kent

Bae Hyeon Seong Opens Up About Attending TIFF With “Paradise Lost,” His Thoughts On Being A Good Actor, And More

https://fed.brid.gy/r/https://www.soompi.com/article/1872370wpp/bae-hyeon-seong-opens-up-about-attending-tiff-with-paradise-lost-his-thoughts-on-being-a-good-actor-and-more

Paradise Lost Review: Yeon Sang-ho’s Limp and Lurid Grief Drama

An uncharacteristically guileless thriller from Yeon Sang-ho, “Paradise Lost” sees the South Korean maestro behind “Train to Busan”…
#NewsBeep #News #Movies #AU #Australia #Entertainment #film #ParadiseLost #reviews #TIFF
https://www.newsbeep.com/au/899711/

Paradise Lost Review: Yeon Sang-ho’s Limp and Lurid Grief Drama

An uncharacteristically guileless thriller from Yeon Sang-ho, “Paradise Lost” sees the South Korean maestro behind “Train to Busan”…
#NewsBeep #News #Movies #AU #Australia #Entertainment #film #ParadiseLost #reviews #TIFF
https://www.newsbeep.com/au/899711/

Paradise Lost Review: Yeon Sang-ho’s Limp and Lurid Grief Drama

An uncharacteristically guileless thriller from Yeon Sang-ho, “Paradise Lost” sees the South Korean maestro behind “Train to Busan”…
#NewsBeep #News #Movies #AU #Australia #Entertainment #film #ParadiseLost #reviews #TIFF
https://www.newsbeep.com/au/899711/

Paradise Lost Review: Yeon Sang-ho’s Limp and Lurid Grief Drama

An uncharacteristically guileless thriller from Yeon Sang-ho, “Paradise Lost” sees the South Korean maestro behind “Train to Busan”…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Movies #Entertainment #Film #ParadiseLost #reviews #TIFF
https://www.newsbeep.com/us/855061/

Paradise Lost Review: Yeon Sang-ho’s Limp and Lurid Grief Drama

An uncharacteristically guileless thriller from Yeon Sang-ho, “Paradise Lost” sees the South Korean maestro behind “Train to Busan”…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Movies #Entertainment #Film #ParadiseLost #reviews #TIFF
https://www.newsbeep.com/us/855061/

Paradise Lost Review: Yeon Sang-ho’s Limp and Lurid Grief Drama

An uncharacteristically guileless thriller from Yeon Sang-ho, “Paradise Lost” sees the South Korean maestro behind “Train to Busan”…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Movies #Entertainment #Film #ParadiseLost #reviews #TIFF
https://www.newsbeep.com/us/855061/

https://www.europesays.com/ie/698467/ Paradise Lost Review: Yeon Sang-ho’s Limp and Lurid Grief Drama #Éire #Entertainment #film #IE #Ireland #Movies #ParadiseLost #Reviews #TIFF

‘Paradise Lost’ Review: ‘Train to Busan’ Director Yeon Sang-ho Returns with a Limp and Lurid Grief Drama About Virtual Reality
#IndieWire #Criticism #Movies #Film #ParadiseLost #Reviews #TIFF

https://www.indiewire.com/criticism/movies/paradise-lost-movie-review-yeon-sang-ho-1235217943/

‘Paradise Lost’ Review: ‘Train to Busan’ Director Yeon Sang-ho Returns with a Limp and Lurid Grief Drama About Virtual Reality
#IndieWire #Criticism #Movies #Film #ParadiseLost #Reviews #TIFF

https://www.indiewire.com/criticism/movies/paradise-lost-movie-review-yeon-sang-ho-1235217943/

‘Paradise Lost’ Review: ‘Train to Busan’ Director Yeon Sang-ho Returns with a Limp and Lurid Grief Drama About Virtual Reality
#IndieWire #Criticism #Movies #Film #ParadiseLost #Reviews #TIFF

https://www.indiewire.com/criticism/movies/paradise-lost-movie-review-yeon-sang-ho-1235217943/

‘Paradise Lost’ Review: ‘Train to Busan’ Director Yeon Sang-ho Returns with a Limp and Lurid Grief Drama About Virtual Reality
#IndieWire #Criticism #Movies #Film #ParadiseLost #Reviews #TIFF

https://www.indiewire.com/criticism/movies/paradise-lost-movie-review-yeon-sang-ho-1235217943/

‘Paradise Lost’ Review: ‘Train to Busan’ Director Yeon Sang-ho Returns with a Limp and Lurid Grief Drama About Virtual Reality
#IndieWire #Criticism #Movies #Film #ParadiseLost #Reviews #TIFF

https://www.indiewire.com/criticism/movies/paradise-lost-movie-review-yeon-sang-ho-1235217943/

Motocultor 2026 : Le Gros Dossier https://www.lagrosseradio.com/webzine-metal/p215246-motocultor-2026-le-gros-dossier/

Le Motocultor s’est con #withintemptation #LIVEREPORTMETAL #motocultor2026 #WEBZINEMETAL #paradiselost #JudasPriest #Festival #emperor #alcest #primus #metal #Live

Motocultor 2026 : Le Gros Dossier https://www.lagrosseradio.com/webzine-metal/p215246-motocultor-2026-le-gros-dossier/

Le Motocultor s’est con #withintemptation #LIVEREPORTMETAL #motocultor2026 #WEBZINEMETAL #paradiselost #JudasPriest #Festival #emperor #alcest #primus #metal #Live

Motocultor 2026 : Le Gros Dossier https://www.lagrosseradio.com/webzine-metal/p215246-motocultor-2026-le-gros-dossier/

Le Motocultor s’est con #withintemptation #LIVEREPORTMETAL #motocultor2026 #WEBZINEMETAL #paradiselost #JudasPriest #Festival #emperor #alcest #primus #metal #Live

Motocultor 2026 : Le Gros Dossier https://www.lagrosseradio.com/webzine-metal/p215246-motocultor-2026-le-gros-dossier/

Le Motocultor s’est con #withintemptation #LIVEREPORTMETAL #motocultor2026 #WEBZINEMETAL #paradiselost #JudasPriest #Festival #emperor #alcest #primus #metal #Live

Todays inner jukebox at work, on repeat as well 🤘😎

#paradiselost #thekenden #metalmusic

https://www.youtube.com/watch?v=VGMo9RV5Ye0

Todays inner jukebox at work, on repeat as well 🤘😎

#paradiselost #thekenden #metalmusic

https://www.youtube.com/watch?v=VGMo9RV5Ye0

Todays inner jukebox at work, on repeat as well 🤘😎

#paradiselost #thekenden #metalmusic

https://www.youtube.com/watch?v=VGMo9RV5Ye0

What humanity suffers from is the foolish belief that war is the way to find peace.

https://youtu.be/dSGmowbGFkQ

#paradiselost

What humanity suffers from is the foolish belief that war is the way to find peace.

https://youtu.be/dSGmowbGFkQ

#paradiselost

What humanity suffers from is the foolish belief that war is the way to find peace.

https://youtu.be/dSGmowbGFkQ

#paradiselost

What humanity suffers from is the foolish belief that war is the way to find peace.

https://youtu.be/dSGmowbGFkQ

#paradiselost

Three books of Michael lecturing Adam with his cliff notes version of the rest of the Bible...

"Am I being frog marched from Paradise
And sentenced to hard labor by lectern?
What did I do to deserve turgid signs
Of distant offspring compounding my fault
By sins hidden, unheralded, unheard
Until to my ears you beckoned them?
I am trying to live in the now, Michael."
He ended; and thus Adam last replied.

#ParadiseLost

Three books of Michael lecturing Adam with his cliff notes version of the rest of the Bible...

"Am I being frog marched from Paradise
And sentenced to hard labor by lectern?
What did I do to deserve turgid signs
Of distant offspring compounding my fault
By sins hidden, unheralded, unheard
Until to my ears you beckoned them?
I am trying to live in the now, Michael."
He ended; and thus Adam last replied.

#ParadiseLost

Three books of Michael lecturing Adam with his cliff notes version of the rest of the Bible...

"Am I being frog marched from Paradise
And sentenced to hard labor by lectern?
What did I do to deserve turgid signs
Of distant offspring compounding my fault
By sins hidden, unheralded, unheard
Until to my ears you beckoned them?
I am trying to live in the now, Michael."
He ended; and thus Adam last replied.

#ParadiseLost

Three books of Michael lecturing Adam with his cliff notes version of the rest of the Bible...

"Am I being frog marched from Paradise
And sentenced to hard labor by lectern?
What did I do to deserve turgid signs
Of distant offspring compounding my fault
By sins hidden, unheralded, unheard
Until to my ears you beckoned them?
I am trying to live in the now, Michael."
He ended; and thus Adam last replied.

#ParadiseLost

Three books of Michael lecturing Adam with his cliff notes version of the rest of the Bible...

"Am I being frog marched from Paradise
And sentenced to hard labor by lectern?
What did I do to deserve turgid signs
Of distant offspring compounding my fault
By sins hidden, unheralded, unheard
Until to my ears you beckoned them?
I am trying to live in the now, Michael."
He ended; and thus Adam last replied.

#ParadiseLost

https://www.europesays.com/es/746404/ Madness Live! reúne tres festivales de Metal y Rock en Barcelona: Hard Rock, Metal Progresivo y sonidos oscuros en 10 días #DoomMetal #eclipse #Entertainment #Entretenimiento #ES #España #HardRock #MetalProgresivo #MichaelMonroe #Music #Música #PARADISELOST #SOEN #Spain #tiamat

https://www.europesays.com/es/741948/ Conciertos de Heavy Metal y Hard Rock en septiembre en España: INDUCTION, HAVOK y dos festivales temáticos en Barcelona #eclipse #Entertainment #Entretenimiento #ES #España #HardRock #HAVOK #HeavyMetal #Music #Música #PARADISELOST #PowerMetal #Spain #XANDRIA

In diesem Jahr medial so gar nichts vom #Wacken mitbekommen. Reichlich Konserven gibt es hier: https://www.magentamusik.de/wacken-2026

Mit #JudasPriest und #ParadiseLost angefangen, da geht noch was. 🤘

In diesem Jahr medial so gar nichts vom #Wacken mitbekommen. Reichlich Konserven gibt es hier: https://www.magentamusik.de/wacken-2026

Mit #JudasPriest und #ParadiseLost angefangen, da geht noch was. 🤘

In diesem Jahr medial so gar nichts vom #Wacken mitbekommen. Reichlich Konserven gibt es hier: https://www.magentamusik.de/wacken-2026

Mit #JudasPriest und #ParadiseLost angefangen, da geht noch was. 🤘

In diesem Jahr medial so gar nichts vom #Wacken mitbekommen. Reichlich Konserven gibt es hier: https://www.magentamusik.de/wacken-2026

Mit #JudasPriest und #ParadiseLost angefangen, da geht noch was. 🤘

In diesem Jahr medial so gar nichts vom #Wacken mitbekommen. Reichlich Konserven gibt es hier: https://www.magentamusik.de/wacken-2026

Mit #JudasPriest und #ParadiseLost angefangen, da geht noch was. 🤘

Roger Avary’s ‘Paradise Lost’ & Alex Proyas’ ‘Heaven’ Have U.S. Theatrical Commitments As AI Outfit Ex Machina Strikes Cinema Deal On Slate
#News #ExMachina #ParadiseLost #RogerAvary

https://deadline.com/2026/08/roger-avary-paradise-lost-us-release-date-theatrical-1237044153/

Roger Avary’s ‘Paradise Lost’ & Alex Proyas’ ‘Heaven’ Have U.S. Theatrical Commitments As AI Outfit Ex Machina Strikes Cinema Deal On Slate
#News #ExMachina #ParadiseLost #RogerAvary

https://deadline.com/2026/08/roger-avary-paradise-lost-us-release-date-theatrical-1237044153/

Roger Avary’s ‘Paradise Lost’ & Alex Proyas’ ‘Heaven’ Have U.S. Theatrical Commitments As AI Outfit Ex Machina Strikes Cinema Deal On Slate
#News #ExMachina #ParadiseLost #RogerAvary

https://deadline.com/2026/08/roger-avary-paradise-lost-us-release-date-theatrical-1237044153/

Roger Avary’s ‘Paradise Lost’ & Alex Proyas’ ‘Heaven’ Have U.S. Theatrical Commitments As AI Outfit Ex Machina Strikes Cinema Deal On Slate
#News #ExMachina #ParadiseLost #RogerAvary

https://deadline.com/2026/08/roger-avary-paradise-lost-us-release-date-theatrical-1237044153/

https://www.europesays.com/fi/325271/ Hellsinki Metal Festival: Yhteenveto ja Tunnelmat #bloodbath #Entertainment #FI #Finland #Finnish #HellsinkiMetalFestival #ikinä #Iotunn #Music #Musiikki #opeth #ParadiseLost #Sanguisugabogg #Suomi #TheKovenant #tungsten #viihde #wormwood

Gestern auf Quobuz die Paradise Lost Alben gekauft, dich ich vor 10 Jahren über Spotify entdeckt habe 🤘

Gerade laufen Songs aus den Alben Believe in Nothing von 2001 und Paradise Lost von 2005 in Finamp.

#Quobuz #Musik #Metal #ParadiseLost

Gestern auf Quobuz die Paradise Lost Alben gekauft, dich ich vor 10 Jahren über Spotify entdeckt habe 🤘

Gerade laufen Songs aus den Alben Believe in Nothing von 2001 und Paradise Lost von 2005 in Finamp.

#Quobuz #Musik #Metal #ParadiseLost

Gestern auf Quobuz die Paradise Lost Alben gekauft, dich ich vor 10 Jahren über Spotify entdeckt habe 🤘

Gerade laufen Songs aus den Alben Believe in Nothing von 2001 und Paradise Lost von 2005 in Finamp.

#Quobuz #Musik #Metal #ParadiseLost

When Lord Heikkinen formed Soulgrind in 1992, it was a rough and raw solo death/doom band. He released two EPs and two LPs between 1993 and 1995 for the now-defunct Malodorous Mangled Innards Records before deciding to invite some band members along for the ride. This would drastically alter Soulgrind’s musical direction towards gothic black/thrash, a decision likely influenced by the introduction of vocalist Tanya Lilith. Lilith and Lord Heikkinen remain the only current band members from the 1997 record, Whitsongs, as long-time drummer and sometimes vocalist Agathon “The Beast” sadly passed away in 2022 from cancer. Soulgrind experimented with harsh vocalists until settling on keyboardist Azhemin in 2001, though they still incorporated a vocalist committee for some time. In 2010, Soulgrind released their ninth full-length album, The Tuoni Pathway, before suddenly disappearing. It took sixteen years until they finally found the time and inspiration to release their tenth album, Ad Pulchram Mortem.1

Soulgrind has seen a significant evolution in their sound since the beginnings of their life as a gothic act. Their early material was raw and evil-sounding, with demo-level production quality. The blackened rasps from Lord Heikkinen and Caesar McLaulone were sometimes grating,2 yet there’s no denying a hunger and passion in their music. The early 2000s felt like a period where Soulgrind were trying to figure themselves out, with some inconsistency in identity from release to release. Then something clicked in 2007 with the release of Pakana, and the music grew more cohesive as it began to revolve around Lilith’s melodic touch. The Tuoni Pathway would see this direction improved before Soulgrind’s lengthy hiatus. Ad Pulchram Mortem brings about a mix of the old and the new, continuing the melodic direction of the last two records while still including some of the rough blackened touches of the older material. This sounds like a veteran group that hasn’t lost an edge of its passion despite the long hiatus.

Ad Pulchram Mortem contains gothic touches resembling fellow Helsinki natives Hanging Garden and the melodic black metal of Sojourner. They dabble in thrash on the likes of “Jylhä Metsämies” and “A Whispered Curse Upon the Gale,” as well as Paradise Lost-style death/doom on the terrific “The Origin of the White Serpent.” The deep, grizzled blackened growls of Azhemin delve into a darkness and ugliness that bring a harsh edge to the music—sometimes at the risk of putting off listeners. Soulgrind occasionally gets weird, such as on the sinister “In the Circus of Tuonela,” yet typically the weirdness is offset by the melodic and catchy choruses from Lilith, as exemplified by “Tears of the Earth.” The duo of Lilith and Azhemin proves a boon, as she serves as the foil of beauty to his beast. Her emotionally charged cleans lift the spirits and act as a soothing balm. This culminates in an outpouring of passion and melody on finale, “Into the Shadows of Devotion,” that is simply jaw-dropping.

For a band with a sixteen-year gap between releases, there is, understandably, still some rust to shake out—in this case, struggles with consistency and length. The record generally works better when Lilith is singing, and she sometimes rescues songs that are otherwise just okay, such as “Tears of the Earth” and “As a Narrow Fjord Descends.” Even so, she occasionally has distracting issues with pitch or odd-sounding vocal tones. Perhaps the biggest miss is the mid-album tune, “In the Circus of Tuonela,” which feels out of place with its lack of memorable hooks. The inconsistency goes hand in hand with a need to edit. While Soulgrind has pretty consistently pumped out 45-minute records throughout their career, this one feels a bit YOLO, reaching the 65-minute mark, including an eleven-minute finale. This last song, incredible as it is, would have a greater impact in a tighter package.

Soulgrind write the sort of melodic music that I love to overrate, with choruses that have me swooning and a heavy crunch of guitar and growls that beautifully contrast with the gentler side of the music. Yet Ad Pulchram Mortem feels as if the band was a touch over-enthusiastic, unable to make the edits necessary to create a more cohesive record. In my heart, there is a 4.0 lurking within these 65 minutes. The compositions revolving around Lilith as well as her soaring performance are just too good. Now that they have this one under their (onion) belt, I hope Soulgrind can return to the studio and create another work with this level of artistry, but a little more cohesion.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Inverse Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 14th, 2026