Saturday, December 31, 2011
Boom boom chi boom boom
bit rate: 320kps
02. Shock the world
03. Don't say no
04. Challenge of the lost warriors
05. Femme fatal
06. Born for love
07. Broken promises
08. She belongs to me
09. Little Eva
10. Mighty teardrops
Tom Tom Club
|Tom Tom Club|
Tina Weymouth with Tom Tom Club, 1986
|Genres||New Wave, synthpop, dance-rock, alternative rock|
|Labels||Sire/Reprise/Warner Bros. Records |
Fontana /PolyGram Records
|Associated acts||Talking Heads|
|Website||Official Web Site|
|Chris Frantz |
|Adrian Belew |
BiographyOriginally established as a side project from Talking Heads, Tom Tom Club comprised a loose aggregation of musicians, sound engineers and artists of the Compass Point All Stars family, including Tina Weymouth's sisters and guitarist Adrian Belew, the latter of whom toured with Weymouth and Frantz in the expanded version of Talking Heads in 1980 and 1981.
Named after the dancehall in the Bahamas where they rehearsed for the first time while on hiatus from Talking Heads in 1980, Tom Tom Club enjoyed early success in the dance club culture of the early 1980s with the hits "Genius of Love" and "Wordy Rappinghood", both of which were taken from their self-titled first album released on Sire in the US and Island Records elsewhere in 1981.
"Genius of Love" has been sampled or reinterpreted by many artists, including L'Trimm, MC Redman, Funkdoobiest, and Mariah Carey in her hit single "Fantasy". "It's Nasty" (1982) by Grandmaster Flash and the Furious Five was one of the early hip-hop versions of the song; however, the sample was re-recorded by a live band rather than just taken from the original recording, as was common practice at the time. Another version, "Genius Rap" (1981), by Dr. Jeckyll & Mr. Hyde, was the first cover version. Max B also sampled "Genius of Love" in his single "Get Outta Jail".
Early British pressings of the first Tom Tom Club album featured shorter versions of "Genius of Love" and "Wordy Rappinghood", but to capitalize on the club success of these songs, Island Records reissued the album with the full 12-inch versions in 1982. A new single, a cover version of The Drifters' "Under the Boardwalk", which was the group's second and final UK Top 40 hit, replaced another song "Booming and Zooming". The US version did not contain these modifications until the album was released on compact disc in the 1990s.
The following year, the group released a follow-up, Close to the Bone, which was similar in style to their first album but didn't fare as well, though "The Man With The Four Way Hips" was a minor hit on urban radio in the US. The album was released on cassette and vinyl and was not released on CD until May 2009, as part of a Deluxe Edition package of Tom Tom Club's first album. The original British vinyl album was released in six different colors.One of the album's singles, "Pleasure Of Love", was sampled in "Turning You On", by The Treacherous Three, as it happened with "It's Nasty", the sample was re-recorded by a live band rather than just taken from the original recording.
Tom Tom Club appeared in the Talking Heads concert film Stop Making Sense in 1984, performing "Genius of Love".
There was then a four year gap until the band's next album, the first version of Boom Boom Chi Boom Boom, released in 1988. By this stage, the band's non-US deal with Island had expired and the album was released outside the US on Fontana/PolyGram Records. On the album, the group adapted a more conventional rock style with a harder edged sound and a hint of menace in the lyrics of some songs. The group's line-up was also solidified along more conventional commercial lines. Whereas the previous two albums had been recorded by a loose collective of a dozen musicians, the band was now reduced to the trio of Weymouth, Frantz, and Weymouth's sister Laura Weymouth. There were, however, a number of prominent guest musicians on the record, including Lou Reed and Talking Heads' front man David Byrne on a cover of Reed's "Femme Fatale". The fourth member of Talking Heads, Jerry Harrison, also featured on some tracks. As with Close to the Bone, the album was not a commercial success although "Suboceana" received some radio play, mainly in the UK, and the single "Don't Say No" made the UK Top 100 (Tom Tom Club's fifth, and to date final, single to do so). The album was the first Tom Tom Club album to be issued on CD and the Japanese CD version featured an added bonus track, the B-side "Devil, Does Your Dog Bite?" which was also featured on the soundtrack to the film Married to the Mob. "Suboceana" was also remixed for dance clubs by house-music pioneer Marshall Jefferson.
The following year, in a bid to recapture the attention of the US market, the group and Sire Records decided to issue a radically altered version of the album in the US. The US version of Boom Boom Chi Boom Boom replaced four songs with four others, one of which, "I Confess," was a total overhaul of the original album's "Mighty Teardrop". The running order of the rest of the album was shuffled while the artwork was revamped. However, the changes had little effect on the album's US commercial success.
In 1991, Frantz and Tina Weymouth built the Clubhouse, a painting and music studio, over their garage near Gamecock Island, Connecticut. In 1992 they released the fourth Tom Tom Club album, Dark Sneak Love Action, which included a cover of Hot Chocolate's "You Sexy Thing". The album focused on the burgeoning techno-music scene. A single, "Sunshine & Ecstasy," featured remixes by Roger Sanchez.
The group's next album, The Good, the Bad, and the Funky, was released in 2000 and featured cover versions of Donna Summer's "Love to Love You, Baby" and Lee Perry's "Soul Fire". One of the album's tracks, "Who Feelin' It", was also featured in remixed form in the soundtrack album of the 1999 film American Psycho. Among the musicians on The Good the Bad and the Funky are Jamaican singer Mystic Bowie, Pettigrew and Toots of Toots & the Maytals. The album's release was followed by one European, and several American, tours.
In 2002, Frantz and Tina Weymouth, along with their former Talking Heads bandmates, were inducted at the Rock and Roll Hall of Fame.
A complete live concert was released in 2003 on the double CD Live @ the Clubhouse, recorded at Tom Tom Club's regular hide-out studio, the Clubhouse in Connecticut in front of an audience of fifty guests. Tom Tom Club has been doing incidental live shows since.
In 2007, the band released a special Christmas single called "Mistletunes", containing two specially recorded Christmas songs: "Il est Ne" and "Christmas in the Club", which featured Mystic Bowie and scratcher/turntableist Kid Ginseng (Weymouth and Franz's son). The single was released by Dutch indie label La La Land Records, which was founded by the former Tom Tom Club merchandise crew.
On September 28, 2010, the band released Genius of Live on Nacional Records. The album featured tracks from the album Live At The Club House as well as remix tributes of "Genius Of Love" by such artists as Ozomatli, Nortec Collective, Kinky, Mexican Institute of Sound, Money Mark and The Pinker Tones.
|US R&B |
|1981||Tom Tom Club||23||–||18||78|
|1983||Close to the Bone ||73||49||31||–|
|1988||Boom Boom Chi Boom Boom ||114||–||–||–|
|1992||Dark Sneak Love Action ||–||–||–||–|
|2000||The Good, The Bad, and the Funky ||–||–||–||–|
Live and compilation albums
- Live @ the Clubhouse (2003)
- Tom Tom Club/Close to the Bone (Remastered & Expanded Edition) (2009)
- Genius of Live (2010)
|U.S. Hot 100 |
|U.S. Dance |
|U.S. MR||U.S. MSR||U.S. R&B |
|1981||"Wordy Rappinghood"||-||1||NA||–||–||35||7||Tom Tom Club|
|"Genius of Love"||31||NA||24||2||28||65|
|1982||"Under the Boardwalk"||–||31||NA||–||–||3||22|
|1983||"The Man With The Four Way Hips"||–||4||NA||–||–||–||82||Close To The Bone|
|"Pleasure of Love"||–||23||NA||–||–||–||–|
|1988||"Don't Say No"||–||–||NA||–||–||–||79||Boom Boom Chi Boom Boom|
|1992||"Sunshine and Ecstasy"||–||9||15||–||–||–||–||Dark Sneak Love Action|
Sunday, December 25, 2011
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Friday, December 23, 2011
01. Can it be done
02. D flat waltz
03. The peasant
05. Blue sound note
06. Swamp cabage
07. Domino theory
With the slow death of WR in the early to mid 80's I stopped buying their lps. I was listening to jazz radio one night and turned it on half way through Db Waltz. I have loved this tune ever since. Hakim gets a groove going on this tune that's awesome! This tune was a return to what made WR great. A good groove and great soloing from Shorter. A nice change from the previous few techno synth albums which "shorted" shorter. The rest of album has its good moments as well. If you are a Omar Hakim fan get this one and Procession and invite some friends over to dance. (sure they willl find you strange but what the hell)
Live in Tokyo
Bit rate: 320kps
01._Medley Vertical Invader Seventh ArrowT.H.Doctor Honoris Causa
02._Medley Surucucu Lost Early Minor Directions
04._Medley EurydiceThe Moors
05._Medley Tears Umbrellas
In principle, this live concert from 1972 follows the same approach as Weather Report's self-titled debut: ensemble improvisation where pretty much anything goes. But whereas the debut is a dreamy, laid-back affair, Live in Tokyo is a fierce, aggressive document of a band that was more "free" than "fusion". (Compare this to Miles Davis's 1970 Fillmore concerts, which have a similar point of departure.) Zawinul's playing on the Fender Rhodes is dissonant and processed with primitive electronics, and on the acoustic piano he's all over the place -- from Bill Evans-like meditations to messing around with the piano's innards. Wayne Shorter, little more than sonic wallpaper on some later albums, blows like a madman on the tenor and soprano saxophones. And the rhythm section (Miroslav Vitous, Eric Gravatt, Dom Um Romeo) is the most spontaneous in WR's catalogue, and arguably the most exciting. The music is organized into 5 lengthy medleys, containing some material from Weather Report's debut as well as otherwise unreleased stuff. There's also a compact, blistering version of Zawinul's "Directions". This music is not for the faint of heart (fans of Black Market and Heavy Weather won't find much to like here) but showcases a band at the peak of its abilities. This essential live recording isn't available domestically so snap it up while you can!
An American prayer
Bit rate:320 kps
|2. Ghost Song|
|3. Dawn's Highway|
|4. Newborn Awakening|
|5. To Come Of Age|
|6. Black Polished Chrome|
|7. Latino Chrome|
|8. Angels And Sailors|
|9. Stoned Immaculate|
|10. The Movie|
|11. Curses, Invocations|
|12. American Night|
|13. Roadhouse Blues|
|14. The World On Fire|
|16. The Hitchhiker|
|17. An American Prayer|
|18. Hour For Magic|
|19. Freedom Exists|
|20. A Feast Of Friends|
|21. Babylon Fading|
|22. Bird Of Prey|
|23. The Ghost Song|
I'll admit, I don't really listen to my other Doors CD's that much anymore...but "An American Prayer" is an exception. Jim Morrison will be recognized as one of the most important (and certainly the most imitated) frontmen in the history of rock/pop music, and deservedly so...but as most knowledgeable music afficianados (Rob O'Connor need not apply) will tell you, Morrison was a great deal more. As compelling (and disturbing) as his lyrics were, it was with the medium of poetry that Morrison truly felt his place to be; his desire was to use popular music as a means of presenting his writing to a greater audience. Having three of the most talented and versatile musicians of the 1960's in his band certainly didn't hurt, and this as much as Morrison's own talents as a lyricist and indominitable charisma as a frontman helped to achieve this end. The reading that he gives on this CD (recorded on Morrison's birthday in 1970, I believe) is first rate. And though it must be allowed that Morrison probably never intended for musical accompanyment to be added to his words (this was done by the surviving Doors members years after his death), it was likely Schiller probably felt the same way at the time he wrote his "Ode to Joy"...and Beethoven's use of Schiller's piece in his 9th Symphony finale certainly can't be seen as a dilution of that work by any stretch of the imagination. Nor is the subsequent Doors instrumentation (as well as the addition of previously released music) to be seen as a lessening of the experience of "An American Prayer". This is an extremely well-conceived production; the music compliments Morrison's reading perfectly. Morrison himself reads in a soothing, engaging, and intimate manner (similar to Charles Bukowski's "Run With The Hunted" expanded CD session), and, if indeed he was "Stoned Immaculate" at the time of the recording, the clarity of his voice lays more to inspiration rather than inebriation. This CD finds all participants in finest form, and the result is an extremely natural progression of sound. This recording may be considered "spoken word" due to its vocal delivery (and as such is unsurpassed by Bukowski, Henry Rollins, William Burroughs, or anyone else to whom I've compared it), but as with the work released by the Doors as a band, the music here is not to be underestimated. This recording was well ahead of its time, and in my opinion represents the Doors as Morrison had intended them to become through an evolution he was unfortunately unable to see through; I believe he would have approved of this work, and I can't recommend it enough, either to fans of poetry, music, and of life itself.
Tuesday, December 20, 2011
Bit rate:256 kps
2. Queen of the universe
3. Every dream comes to an end
4. The bride
6. A day in heaven
7. Time of pain
After shortening their name to "Socrates" from the original "Socrates Drank The Conium", Greece's favorite and most famous rock trio collaborated with former Aphrodite's Child keyboard wizard Vangelis Papathanassiou (yes, THAT Vangelis) for this album, which is arguably their magnum opus and the closest they've ever come to the progressive rock genre. Lush, atmospheric keyboards enhance the intricate arrangements, which are on par with the best the international rock, hard rock and progressive rock could offer at the time. The only gripe is the wiry, weak and nasal tone of Yiannis Spathas' guitar. "Killer" is actually a reworking of the frenetic, driving "Death Is Gonna Die" from their previous effort, "On The Wings"; don't confuse it with Adamski's dance hit. "Mountains" is perhaps the finest example of how an electric guitar can be used to play a traditional improvised Greek clarinet solo. "Queen Of The Universe" is just what a love song should be, sensitive and heartfelt, without being mushy and corny - and it also has a gorgeous melody. "Starvation" is the album's most famous song. Although it's incredibly well-composed and written, this is where we see why I don't like the guitar tone. All of the songs, in general, are of a very high standard. I highly recommend this album to every rock connoisseur.
Socrates was Yannis Spathas and Antonis Tourkoyorgis on guitar and bass respectively. During the period that they were playing in the Kitarro Club they went through several drummers including George Trantalidis, all of them terrific. In Athens during the early seventies, when the 1967 military dictatorship was still in control, there were a number of rock clubs in the area around Victoria Square and in the Plaka. Poll and Morka played at the Elaterion. Socrates and Exidaktilo played at the Kitarro. As Dorian Kokas, the founder and leader of Morka told us one night "We used to race through our set and play everything fast so we could get out early and go to the Kittaro and catch the last set of Socrates." Musicians loved Socrates.
Socrates sounded like several bands that were popular at the time, Jimi Hendrix Experience, Deep Purple, Blue Cheer, and Black Sabbath come to mind now when I hear their music from that early period, though the majority of their material was original. There were songs that were crowd favorites such as "Close the Door and Lay Down", "Starvation" and "Underground", but often the highlight of the evening was when they did their Hendrix songs like "Voodoo Chile", "Message of Love" and "Red House" or jammed on songs like "Kansas City" with singer Jimi Quidd (later of the NY Dots) and Greek-American blues guitarist John Kronis.
Spathas played a Fender Strat, long straight hair hanging down almost to the guitar, he was motionless except for his hands which effortlessly ripped out the most fluid, solos and riffs. He always hooked the chord to his amp over the bottom cutaway so he would not step on it and pull it out during a solo, I suppose. It was sort of his trademark in a way and we would watch him tune up and wait for him to do it which meant to us that the music was about to begin. He would play some mind-boggling riff to make sure the volume was right or the guitar was in tune and they would be off. Antonis Tourkoyorgis played bass and sang and if Spathas gave the appearance of being introverted he was the complete opposite. He was also a great bass player. The powerful sound this little three-piece band with their stacks of Marshalls put out in the Kittaro kept us coming back night after night. In all honesty I have to say that to this day I have not heard any band, three-piece or more, fill as much musical space. Seeing the Who in 1976 I found myself comparing them to Socrates. OK, the Who is the Who. But apart from the personalities, the songs I knew and the flamboyance, were Townshend, Entwhistle and Moon as good a band as Socrates? No way. Led Zepplin? Nope. You'd have to ask someone who had seen Hendrix or Cream to make the judgement about those bands but I can't imagine anyone being better than Socrates on a good night and as far as those nights in the Kittaro went I don't think they ever had a bad night. They were too good to have a bad night.
What made them so remarkable was the guitar playing of Spathas. Even today listening to the solos he played in 1972 I still can't believe the music he was making. Brent Lambert of Kitchen Mastering, quite a guitar player himself, after hearing several Spathas solos from thirty years ago said "If this guy had come to America he would be a guitar hero and everyone would know his name." If you liked the way Hendrix, Ritchie Blackmore, Jimmy Page and Eddie Van Halen play you will love Spathas and if you play guitar yourself you will wonder "If this was thirty years ago and he is still playing how good must he be now?"
Socrates made two albums as a three-piece, both pretty awful because of poor mixing and mastering though the songs and performances were good. In those days producers had no idea what to do with a group like Socrates. It would be like recording Rage Against The Machine after spending 20 years doing Herman's Hermits. Later the group added a lead singer and different variations of guitarists, keyboards. At one time both Spathas and Tourkoyorgis played guitars. Vangelis Papathanasiou, otherwise known as Vangelis joined them for an album and made them more of a progressive-rock band with lots of keyboard, synth and guitar interweavings. But the three-piece version of the band's first two albums and the original rock-blues style was probably their best shot at world fame.
Socrates still plays. They are again a three-piece with Spathas and Tourkogiorgis joined by Makis Gioulis, a fine drummer in the traditon of the band. Asteris Papastamatakis plays keyboards on some material and a female vocalist named Markela Panagiotou, harmonizes and does duets with Tourkogiorgis and sings a couple songs on her own. Still the best part of the night for me is when the band strips down to the core of guitar-bass-drums and they play the old songs from the Kittaro or jam on some Hendrix tunes. Maybe I am just nostalgic but I can't help listening to them and thinking of what might have been. Had it not been for the fact that they were at their prime during the dictatorship then maybe Greece might have been known as the country that gave us Socrates instead of Yanni. Then again oppression can breed great art as an instrument of rebellion. Socrates with their long hair, beards and high-energy blues and rock and roll were a window on the world outside and the reason people crammed into the Kittaro every weekend. For that reason they belong alongside the great bands of Rock and Roll History.
-Socrates drank the conium (1972, Polydor)
-Taste of conium (1972, Vertigo)
-On the wings (1973, Polydor)
-Phos (1976, Vertigo)
Monday, December 19, 2011
Friday, December 16, 2011
Sunday, December 11, 2011
- Itching or Burning Sensation In Your Intimate Parts
- Vaginal Odor Or Vaginal Discharge
- Leaky Gut Syndrome
- Painful Urination or Other Urinary Disorders
- Painful Sex
- Sexual Dysfunction or Impotence
- Depression or Mood Swings
- Chronic Rashes
- Constant Tiredness or Fatigue
- Joint Pain or Swelling
- Digestive Pain
- Muscle Aches
- Short Attention Span
- Hand Pain
- Hip and Knee Pain
- Headaches or Constant Migraines
- Unexplainable Lack of Energy
- Acne or Rosacea
- Respiratory Infections
- Bloating or IBS
- Menstrual Pain
- Skin Lesions
- Shortness of Breath
- Food Allergies
- Learning and Memory Problems
- Increased Craving For Carbohydrates
- Jumpy Legs
- Blurred Vision Or Brain Fog
- Oral Yeast Infection (Oral Thrush)
- Male Yeast Infection
- Yeast Infections in Your Toe or Fingernails
- Unexplainable Feeling of "Not being yourself"
The songs flow seamlessly one into the next with the highlights being "Embers Fire", "Dying Freedom", "Widow", "Poison", and "True Belief". "Christendom" incorporates female vocals to fine effect. As in most middle-era Paradise Lost, there are some great melodic guitar solos on Icon. By album's end, you're drained but ready to resume normal life again.
If you are into Paradise Lost at all, you need to have this album. If you are new to Paradise Lost and curious to try them out, I recommend you start out with the more accessible classics, Draconian Times and One Second, then work your way back to Icon. Icon is an album for true Paradise Lost aficionados.
Saturday, December 10, 2011
I really love this dark wave LP (gothic metal). One of my favorite.
Bit rate: 320kps
2. Hallowed land
3. The last time
4. Forever failuer
5. Once solemn
7. Elusive cure
8. Yearn for change
9. Shades of god
10.Hands of reason
11.See your face
Paradise Lost live in 2007 with former drummer Jeff Singer.
|Origin||Halifax, West Yorkshire, England|
|Genres||Doom metal, death/doom (early), synthpop/synthrock (middle era), gothic metal|
|Labels||Century Media, Music for Nations, Koch, GUN, Peaceville, EMI Electrola|
|Nick Holmes |
|Lee Morris |
HistoryTheir first three full-length albums are examples of the death/doom style, although the latter two incorporated some melodic and gothic elements. However, with the release of the seminal albums Icon (1993) and Draconian Times (1995), Paradise Lost also became known as pioneers of the gothic metal subgenre. In accordance with the change in musical approach, vocalist Nick Holmes changed his singing style. He used a death grunt on the band's first three albums, but on Icon refined his voice to have a cleaner tone. Later (circa 1997), the band began experimenting with electronic styles but after four albums reverted again to gothic metal.
Their line-up has remained stable for such a long-standing heavy metal band, consisting of singer Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, and bassist Steve Edmondson. Holmes and Mackintosh are the principal composers, with almost all of the band's songs credited to them. During the years, the band has only changed drummers, with original member Matthew Archer replaced in 1994 by ex-Marshall Law drummer Lee Morris In March 2004, Morris left the band. Jeff Singer took Morris' place and has played on all subsequent releases, though he was not listed as a permanent band member until the release of the single "The Enemy" in 2007. In a recent video interview, Mackintosh and Holmes revealed that Singer had already auditioned for the band when Archer left, but they chose Morris instead because "[Singer] had a pink drumkit".
Early on, Paradise Lost were inspired by Kreator, Celtic Frost, Candlemass, Death, Morbid Angel, and Repulsion. Up to 1989, the band recorded demo cassettes, then signed with Peaceville Records for their first album (recorded at The Academy), Lost Paradise. Their debut was well received by press and fans alike. In November 1990, Paradise Lost went back to The Academy to work on the second album. 1991's Gothic (also on Peaceville) was the band's stylistic breakthrough, eventually becoming an influential album within the extreme metal circles. The album was labeled a "classic" and was rated highly by both fans and critics. The album expanded beyond the original death/doom format by being more melodic and featuring symphonic orchestra and female vocals by Sarah Marrion. With this album the band pushed "gothic" into the metal scene and started a new genre - gothic metal. Paradise Lost was signed to the Music for Nations label, and in July 1992 released Shades Of God. The album contained the song "As I Die," later released as a single/EP. In summer 1993, the band commenced work on their fourth full-length record, Icon which was released on September in the same year. The album hit the German charts at number 31, It solidified the band's position in the mainstream metal scene. Draconian Times, one of the band's most successful albums came in June 1995; a limited edition digipack offered a second disc, dubbed "Live Tracks, Demos & B-Sides," with five live recordings as well as demos and outtakes. To promote the album, Paradise Lost went on a tour through Europe, South America, Australia, and Japan.
On the album One Second (1997), the band began to experiment with Depeche Mode-esque synth pop and electronica. The album turned out to be one of the band's most important releases, cracking the German and Swedish top ten charts and giving the band a boost in popularity everywhere, it seemed — except the UK. The band later contracted EMI Electrola in Germany for its next album, Host, released in 1999, on which they continued to experiment with new sounds, appearing to shed their metal roots. On the next album, Believe in Nothing (2001), Paradise Lost continued the synth direction, but adding rock elements to the music. In May 2002, the band signed to GUN records, and on the album that followed, Symbol of Life, the metallic roots of the band began to resurface.
Paradise Lost released their 10th, eponymous album in 2005 on GUN records. The eleventh album, In Requiem, was released in Spring 2007 on Century Media; it was generally well-accepted and highly rated by both critics and fans, pleased to see the band returning to their heavier, gothic metal sound similar to that of earlier albums like Draconian Times. The full-length was preceded by a single, "The Enemy."
In November 2007, Century Media released the DVD Over The Madness, which documents the impact Paradise Lost has had on gothic metal and provides insight into the mindset and workings of Paradise Lost. Disc 2 includes further interviews, rehearsal footage, plus backstage and memorabilia sections.
On 13 August 2008, drummer Jeff Singer announced his departure from the band on the Paradise Lost official website. He wanted to be with his family, had an upcoming job, and the then-upcoming South American tour would interfere with that. As a result, Paradise Lost had to cancel the South American tour dates that they had planned. Soon after, on 28 August 2008, the Paradise Lost official website announced that the cancelled South American tour has been reconfirmed and that Mark Heron from Oceansize would take over on drums.
At the beginning of 2009, Paradise Lost recorded their new album with producer Jens Bogren in Fascination Street Studios in Örebro, Sweden. At the time there was no full-time replacement for Jeff Singer and drums were played by Swedish drummer Peter Damin. On 16 March 2009, when the album was already finished with being recorded, the band recruited Adrian Erlandsson (ex-At the Gates, ex-Cradle of Filth) as a full-time drummer for the band.
On 18 June 2009, Paradise Lost officially announced Faith Divides Us - Death Unites Us as the title of their upcoming new album, to be released on Century Media Records on 25 September 2009 in Germany, on 28 September 2009 in the rest of Europe and on 6 October 2009 in the US.
Paradise Lost headlined the Jägermeister Stage at Ozzfest 2010 on 18 September 2010.
In late 2011, Paradise Lost began recording it's 13th studio album "Tragic Idol" in The Chapel Studios in Lincolnshire. The release date is April 23rd 2012.
- Nick Holmes - vocals (1988–present)
- Greg Mackintosh - lead guitar (1988–present)
- Aaron Aedy - rhythm guitar (1988–present)
- Steve Edmondson - bass guitar (1988–present)
- Adrian Erlandsson - drums (2009–present)
- Mark Heron - touring drums (2008)
- Peter Damin – studio drums (2009)
- Milly Evans - touring guitar (2009–2010), touring keyboards and backing vocals (2011)
- Lost Paradise (1990)
- Gothic (1991)
- Shades of God (1992)
- Icon (1993)
- Draconian Times (1995)
- One Second (1997)
- Host (1999)
- Believe in Nothing (2001)
- Symbol of Life (2002)
- Paradise Lost (2005)
- In Requiem (2007)
- Faith Divides Us – Death Unites Us (2009)
- Tragic Idol (2012)
- At the BBC (2003)
- The Anatomy of Melancholy (2008) (Live double-DVD set, and Live double-CD set)
- Draconian Times MMXI (2011)