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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.

Paradise Lost



The Eden House are a musical collective who’ve collaborated with a wide variety of vocalists and musicians and have released three albums and two mini-albums. The Eden House are built around the core duo of guitarist Stephen Carey and bassist Tony Pettitt of Fields of the Nephilim together with drummer Simon Rippin of The Nefilim. Formed in 2009 they’ve previously attracted calibre collaborators such as Julianne Regan of All About Eve, Amandine Ferrari, Evi Vine, Pink Floyd’s sound engineer Andy Jackson and Phil Manzanera of Roxy Music. They’ve toured and headlined festivals in the UK, Germany, Belgium and Poland. They embellish their music with lush layers of violin and diverse female vocals, leading them to be described on Wikipedia as ethereal wave. Without betraying their goth-rock roots, The Eden House expand their horizons working with top musicians from the prog-rock and trip-hop worlds to create their unique fusion sound. Other lead vocalists featured are Lee Douglas of Anathema, Louise Crane, Meg Pettitt and Kelli Ali of Sneaker Pimps. Musicians include Bob Loveday of Penguin Café Orchestra & Van Morrison and Simon Hinkler of The Mission

The Eden House



The Society are an English gothic rock band, formed in Barnsley in 2014 after Paul Gilmartin, Martin Roberts and David Whitaker split from the reformed version of their previous band (see separate article, below). The current lineup is Jonathan Cridford (vocals), Elliot Wheeler (guitar), Darran Guy (keyboards), Ade Clark (bass guitar) and Paul Gilmartin (drums). Jonathan Cridford replaced Brian Jay in 2016. Paul Gilmartin, after leaving The Danse Society in January 2014, recruited a strong male vocal, initially provided by Brian Jay, which proved popular with fans old and new as well as live audiences. The live band also began to take shape with the recruitment of Darran Guy on keyboards, Ade Clarke on bass and Elliott Wheeler on guitar. Paul Gilmartin's album "Reincarnated", featuring some early songs and many new ones, with lyrics by Gilmartin and scored by the band, was released in 2015. While this incarnation of the band gained momentum, extensively touring the UK and Europe, playing alongside such bands as Balaam And The Angel, Chameleons Vox, Spear Of Destiny and Theatre Of Hate, a legal battle started for the sole usage of the band name. During 2016 Brian Jay stepped aside to allow a new frontman, Jonathan "J" Cridford, to join the band. The "Reincarnated" tour continued, but as the tour drew to a close, the decision was made to change the band name, as Paul Gilmartin had lost the legal case against The Danse Society to gain the band name.

The Society



Fields of the Nephilim is the creation of vocalist and front man Carl McCoy, a seeker of the greater truth, who sprang from humble beginnings in south London. Brought up in a religious environment, Carl became familiar with the stories of the Watchers and Nephilim at a very early age. Unquestionably, this influenced his decision to pursue a creative career in art and music which embraced the world of the occult and portrayed it through his own apocalyptic fusion of Victorian underworld meets Sergio Leone Spaghetti Western, Fields of the Nephilim’s emerging brand of dark aural delights - expressed in tracks such as ‘Trees come down’, ‘Power’, ‘Preacher Man’ and ‘Dawnrazor’.

But it also helped define the band’s unique appearance, both on and off stage. Wide-brimmed hats, long duster coats and cowboy boots, usually black and smothered in white flour as a substitute for dust, became its trade mark in a world where designer label clothes were fast becoming the street style of the era. Fields of the Nephilim’s distinctive appearance, meant that they quickly became noticed by the music world, ensuring a growing fascination that enabled the band to achieve moderate success with their early singles and develop a loyal fan-base throughout Europe.

Little by little that success was built upon until the release in 1987 of their single ‘Blue Water’, which with its chaotic video propelled it into the bottom reaches of the UK pop chart. This was followed in 1988 with the release of the band’s seminal classic ‘Moonchild’, named after a magical novel by controversial English occultist Aleister Crowley. It rocketed into the charts at number 28, forcing TOP OF THE POPS to play its heavily-occult inspired video. It shocked the nation, but also helped propel Fields of the Nephilim into the realm of a major league rock band.

The sequel, ‘Psychonaut’, a title inspired by a magical grimoire by chaos magician Pete Carroll, was even more shocking. Although it received next to no national airplay in Britain (save for the concerted efforts of liberal Radio One DJ Annie Nightingale), it found its way into the charts at number 35, allowing a limited exposure to its mind-altering, Grainy video which featured a Sioux sundance ritual in which the candidate is hurled up into the air by claw-hooks affixed to his bare chest. Interspersed between its constantly shifting scenes, cut up in a style similar to news reels of the Edwardian era, were brief, almost subliminal flashes of war and destruction in the Middle East, as well as Christian religious images, which blended to express an apocalyptic vision of coming time.




In 1983… Danny and James get together to experimentand make noise. James liked Metal Machine Music, Danny liked Cabaret Voltaire.

James had a bass guitar and Danny had 2 synths…they made Noise! Then guitarist Mike joined the band…he had pedals…loads of ’em! They linked them up, drum machine to synths – via pedals and through echo chambers then pressed Play! Eureka, they were a Band!At the time, Danny was working with The Sisters of Mercy and Übermeister Andrew Eldritch took the trio to Bridlington to record the first Salvation single for his label Merciful Release. K.G. Studio was 100 yards from the beach and had already played host to the Sisters. It was snowing and the band were skint! Andrew knew that the band didn’t have any money and so, asked to be paid in kind with West Yorkshire’s finest stimulants. 3 sleepless nights and the Girlsoul EP was born! The Sisters’ connection guaranteed healthy sales and soon the band and Eldritch were back behind the mixing desk; this time at Stockport’s Strawberry Studios. 48 channels, all the latest technology! No excuses, they had to sound good!

They recorded 6 songs for a prospective album on Merciful Release but Machiavellian machinations saw it being shelved and Mike decided to leave the band.




Sometime The Wolf

Sometime The Wolf. are a Preston based Gothic Rock band, focused on using thick layers and effects to create texture and atmosphere, backed by powerful riffs and pounding drumbeats. If you've ever wanted a modern, melodic take on gothic rock/metal - this is it!









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