Posted in Whathaveyou on August 21st, 2015 by JJ Koczan
I’ve posted about Finnish death-doomers Swallow the Sun a few times over the years, and apart from a track stream I did for their last record, 2012’s Emerald Forest and Black Bird (posted here), the response is usually pretty quiet. Well, I’m gonna keep posting about them because I think they’re a cool fucking band and they’re prone to doing wacky stuff like putting out a triple-album, which they’ll do in Nov. in the form of Songs from the North I, II and III. Kudos to Century Media for what I can only assume was a toss-the-hands-up-and-say-what-the-hell decision to get behind such a massive undertaking, and to the band itself, because if you’re gonna go low and slow, you might as well also go completely overwhelming.
The PR wire has release details:
SWALLOW THE SUN finishes massive recording session; new triple album to be released in November
Melancholy death-doom metal masters SWALLOW THE SUN have completed their massive recording session! The Finnish sextet’s last album, Emerald Forest And The Blackbird, was released in winter 2012; come November 2015, the long wait between recordings will finally be over.
The new SWALLOW THE SUN release will be a triple album entitled Songs From The North I, II & III.
Main songwriter and guitarist Juha Raivio comments on the triple album concept: “Making a triple album in this godforsaken digital and modern day and age…Many will say it’s madness. I say it is to bring worth, heart and respect back into the music and to the album format where it belongs. This should never turn into a shallow fast food industry where music is only downloaded one song at a time.
These albums hold life, death, gloom, beauty and despair in their deepest levels and forms. The three chapters are different but connected, one long journey through these songs written up here in the North.
Music is holy, albums are holy. See you on the other side friends.”
Stay tuned for more news about Songs From The North I, II & III coming soon!
SWALLOW THE SUN is: Juha Raivio – guitar Markus Jämsen – guitar Mikko Kotamäki – vocals Matti Honkonen -bass Aleksi Munter – keys Juuso Raatikainen – drums
Yeah, it’s only been a week since the last round of radio adds went up, and yeah, it usually takes me way longer than that to get a batch together — more for my own inability to organize than the lack of stuff coming in — but this time I managed it and in the interim there were 16 releases that happened along that it seemed only fair to toss into the fray. And so here we are. The bunch is suitably eclectic, as I think the highlight selections below showcase, but if you want to go down the list for yourself, hit up the Obelisk Radio Playlist and Updates page and have at it. Of the 37 list-based posts you’ll likely read on the internet today, this… should be one of them, I guess? Sorry, I’ve always sucked at promotions. I hope you find something you dig either here or there.
The Obelisk Radio adds for June 5, 2015:
Paradise Lost, The Plague Within
Their 14th album overall, The Plague Within is iconic UK doomers Paradise Lost‘s fourth for Century Media and third since the stylistic renaissance that seemed to begin in 2009 with Faith Divides Us – Death Unites Us (review here) got rolling. 2012’s Tragic Idol was a respectable follow-up working in a similar vein, and The Plague Within is likewise, veering into thrashier tempo for “Flesh from Bone” but generally reveling in an emotionally wrought vision of melancholia bridging the gap between the pioneering death-doom of their early days and the goth theatrics that followed. The turn they made six years ago was not an accident, and they have very clearly been working from a pattern since — many interesting things can happen to a band 14 albums in, but few will be accidents — but that doesn’t necessarily make a record like The Plague Within ineffective. Rather, cuts like “Terminal” and the plodding “Beneath Broken Earth” foster a bleak and encompassing sense of mood, and with strings, guest vocals and piano added to the arrangement, “An Eternity of Lies” still manages to keep its sense of focus held firm, the band’s well-honed experience serving them well. They have a loyal legion of fans who’ll follow them wherever they head, but even if The Plague Within is Paradise Lost playing to their latter-day strengths, I’m not inclined to argue against that. There’s a reason they are who they are. Paradise Lost on Thee Facebooks, Century Media.
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T.G. Olson, The Wandering Protagonist
A collection of at-least-semi-improvised recordings by Across Tundras guitarist/vocalist Tanner Olson, operating under his solo moniker of T.G., The Wandering Protagonist is the follow-up to 2014’s The Rough Embrace (review here), and is perhaps less plotted out but with no diminishing of its folkish spirit. Olson plays electric, acoustic and slide guitar, organ, flute, harmonica (the latter is a focal point early in closer “Down in the Valley Below”), percussion drones and piano, and enters into easy instrumental conversation with himself, though there are some vocals as well on opener “Great Rock Falls.” For Across Tundras fans, the highlight might be nine-minute “Small Triumph,” with its heavier progression, but focusing on that without paying attention to the swelling drone, harmonica and acoustic guitar interplay of “For the Torn” before it is missing the point. The Wandering Protagonist is true to its title in that Olson does wind up in a variety of places — sonically, that is; the songs were recorded at his Ramble HillFarm, outside Nashvillein Tennessee — and a song like “Slow Susanna,” at 1:12, carries through like the experiment it is (a take on “Oh Susanna”), but these tracks also brim with open creativity and bring a rare sense of adventure to Americana so often boxed in by tradition. Few are better suited to push the limits of the form. Across Tundras on Thee Facebooks, on Bandcamp.
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Abrams, Lust. Love. Loss.
Denver trio Abrams make their full-length debut with the triply-punctuated Lust. Love. Loss., a self-released 10-track collection with an obvious focus on flow, complexity of songwriting, crisp execution, tight performances and an overarching sense of heft that is more than ably wielded. Comprised of guitarist/vocalist Zach Amster, bassist/vocalist Taylor Iversen and drummer Mike Amster (also Blaak Heat Shujaa), the three-piece seem to take their cues from the post-Baroness school of progressive heavy rock, bringing the occasional flourish of post-rock as in the airy tones of “Sunshine” or post-hardcore in “Mr. Pink Always Wins” but keeping the “post-” pretty consistent amid a nonetheless thrusting rhythmic charge. Amster and Iversen combine forces readily on vocals, to charming effect on “Sweaty and Self Conscious,” and a later turn like the slower, sludgier push of “Useless” arrives at just the right moment before the title-track and closer “The Light” mount the album’s final argument in its own favor, the latter offsetting odd-timed chugging with intermittent builds and payoffs leading toward a last movement not overdone, but classy in a manner befitting the cuts before it. The fuzz of “Sea Salt Lines” hints toward Truckfighters and the semi-bombast of “Far from Home” calls to mind Sandrider, but Abrams appear most interested in developing their own sound from these elements rather than aping the sounds of others, and I hear nothing in their debut to tell me they can’t get there. Abrams on Thee Facebooks, on Bandcamp.
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We are Oceans, Woodsmoke
Following up on their 2012 self-titled debut (review here), Massachusetts instrumenalists We are Oceans return with their second four-track full-length, Woodsmoke, which starts our directly referencing Earth in “Stonewall,” the opener and longest track here at 13:44 (immediate points), but soon enough move toward a more individualized and fleshed-out heavy post-rock, airy guitar not replacing verses nor trying to, but adding texture and a dreamy vibe to progressions that feel steady and patient in like measure, no change either rushed or needless, but fitting with what the song needs, whether it’s the immersive shifts of “Stonewall” or the down-to-silence break in the second half of “Dead Winds,” which builds back up to one of Woodsmoke‘s most satisfying payoffs. While “Stonewall,” “Dead Winds” and 12:12 closer “Solstice” are all north of the 10-minute mark, third cut “Pressed Flowers” (4:10) assures that the four-piece have more to them than one kind of development, a serene, peaceful line playing out not quite at a drone’s repetitiveness, but with a subtle evolution of the central theme, from which “Solstice” picks up started by the guitar but ultimately propelled in its early going by the drums, a fluid jazz taking hold as We are Oceans move to the inevitable crescendo that caps Woodsmoke in its last moments. Their debut was an encouraging start, but it’s in these songs that We are Oceans really showcase the aesthetic potential at the heart of their project. May they continue to grow. We are Oceans on Thee Facebooks, on Bandcamp.
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Skunk, Heavy Rock from Elder Times
I guess the “elder times” that Oakland, California, five-piece Skunk — vocalist John McKelvy, guitarists Dmitri Mavra and Erik Pearson, bassist Matt Knoth and drummer Jordan Ruyle — are talking about on their 2015 Heavy Rock from Elder Times debut demo is some combination of the ’90s and the ’70s, since as opener “Forest Nymph” telegraphs, they seem intent on answering the question of what might happen if Fu Manchu and AC/DC ever joined forces. It’s a noble mission, to be sure, and their fuzz and classic swagger is sold well over the course of the demo’s six tracks, which are as unabashedly stoner in their riffs as they are in titles like “Black Hash,” “Devil Weed” and “Wizard Bong.” Heavy Rock from Elder Times being their first collection of songs, I don’t feel like I’m giving away state secrets by saying there’s room for them to grow, but cuts are catchy in their turns and hooks, and the command that McKelvy shows alone in riding these riffs bodes well for where they might go next — their approach is cohesive even in its self-recorded, initial form. That’s never a bad place to start from, and if they have growing to do, at least they’ve given those who might check them out something worth their time in this welcome opening salvo. Skunk on Thee Facebooks, on Twitter, on Bandcamp
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Tried to get a decent amount of variety, at least within the sphere of heavy, and hopefully managed to do that, with some doom, rolling country experimentalist, neo-prog, post-rock and all out riffing. Again, on the chance nothing here tickled your fancy — because rest assured, the aim here is to tickle fancies — I think that might be the creepiest thing I’ve ever typed — be sure to hit up the Obelisk Radio Playlist and Updates page, to see not only the other 11 records that were added to the server today, but, you know, everything else from the last two-plus years. There’s bound to be something in there you dig.
Posted in Whathaveyou on November 19th, 2014 by JJ Koczan
Considering it’s been getting dark at around 4:15PM and temperatures were in the 20s last night (that’s negative numbers for your Celsius types), safe to say winter’s here, and winter more or less was a season made for Triptykon. Or maybe that’s the other way around. I don’t know. If you can figure out which came first between freezing, malevolent darkness and Tom G. Warrior‘s soul-consuming croak, be my guest. I have no technology to aid with such things.
This year, Triptykon released their second album, Melana Chasmata, which I successfully avoided reviewing because I knew I’d only want to buy it if I did (ask me sometime about the struggle between placing value on my own work and supporting artists), and celebrated the occasion by headlining the Sunday date at Roadburn 2014, the festival where they also made their live debut in 2010. “Tree of Suffocating Souls” is the opener from the newer outing, and Triptykon have just posted a video for it today to herald a tour on which they’ll embark next month alongside the reactivated At the Gates.
Triptykon are also already confirmed for a multitude of 2015 festivals, including Temples, Maryland Deathfest, and Hellfest, so clearly their story is set to continue. The PR wire fills us in:
Triptykon – New video clip for “Tree Of Suffocating Souls”; Touring commencing soon!
On the eve of returning to the stage in their native Switzerland after an absence of more than two years, and two weeks before embarking on a tour of Europe with At The Gates, Swiss avant-garde extreme metal act Triptykon are debuting a new visualization of a song off their acclaimed second album, Melana Chasmata.
The video was directed by Philipp Hirsch (who previously worked with Triptykon for the group’s highly acclaimed “Shatter” and “Aurorae” video clips).
Triptykon singer/guitarist Tom Gabriel Warrior: “In producing this footage, we have elected to once again work in partnership with long-standing Triptykon collaborator and director, Philipp Hirsch, in Leipzig, Germany. As intensely minimalist as Triptykon’s approach and music are, as perfect and passionate was Philipp in creating images which combine such minimalism with the required darkness. The night during which most of these images were created was, for many reasons, a truly extraordinary night none of us shall ever forget.”
Next to the soon commencing European tour with At The Gates and Morbus Chron, Triptykon have recently confirmed a string of festival dates, including appearances at next year’s Maryland Deathfest (US) and Hellfest (FR). Here is a list of all confirmed and announced upcoming live-shows for Triptykon:
Triptykon Live: SA 22.11.2014 Bern (Switzerland) – Saint Ghetto Festival TH 04.12.2014 London (UK) – Forum + At The Gates, Morbus Chron & Code Orange FR 05.12.2014 Manchester (UK) – Academy 2 + At The Gates, Morbus Chron & Code Orange SA 06.12.2014 Glasgow (UK) – Garage + At The Gates & Morbus Chron SU 07.12.2014 Birmingham (UK) – The Oobleck + At The Gates, Morbus Chron & Code Orange MO 08.12.2014 Cardiff (UK) – The Globe + At The Gates, Morbus Chron & Code Orange WE 10.12.2014 Essen (Germany) – Turock + At The Gates & Morbus Chron TH 11.12.2014 Hamburg (Germany) – Markthalle + At The Gates & Morbus Chron FR 12.12.2014 Eindhoven (The Netherlands) – EMM SA 13.12.2014 Leipzig (Germany) – Conne Island + At The Gates & Morbus Chron SU 14.12.2014 Wien (Austria) – Arena + At The Gates & Morbus Chron TU 16.12.2014 Aarau (Switzerland) – Kiff + At The Gates & Morbus Chron WE 17.12.2014 Munich (Germany) – Backstage Werk + At The Gates & Morbus Chron TH 18.12.2014 Antwerpen (Belgium) – Trix + At The Gates & Morbus Chron FR 19.12.2014 Cologne (Germany) – Essigfabrik + At The Gates & Morbus Chron SA 20.12.2014 Berlin (Germany) – Postbahnhof + At The Gates & Morbus Chron SA 23.05.2015 Baltimore (US) – Maryland Deathfest SA 30.05.2015 Bristol (UK) – Temples Fest SA 13.06.2015 Bucharest (Romania) – Metalhead Meeting 19.-21.06.2015 Clisson (France) – Hellfest 05.-08.08.2015 Jaromer (Czech Republic) – Brutal Assault Open Air
Posted in Whathaveyou on November 7th, 2014 by JJ Koczan
Paradise Lost‘s last couple albums have been melancholy gems. Both 2012’s Tragic Idol and 2009’s Faith Divides Us — Death Unites Us (review here) drew a line to the rawness of the band’s early work without forgetting the brooding sensibility of their later forays, working under a sonic formula that seemed to be consistently developing while holding to a core of strong songcraft resulting in memorable tracks. Good records, in other words. But as the band continues to try to find their place, they seem to be pushing further back into their own breadth of influence, looking toward their deathly beginnings for where to head next.
We’ll look to the PR wire, as ever, for some explanation:
PARADISE LOST begins recording new album
After taking a trip back in time with the Tragic Illusion 25 (The Rarities) album and the last studio album Tragic Idol (2012) — which entered the charts at #2 in UK Rock Charts, #6 in Germany, #15 in Austria, #30 in France and #32 in North America Top New Artists/Heatseeker Charts — it’s now time for PARADISE LOST’s 14th studio album!
The band is about to begin the recording sessions for their highly anticipated 14th studio album with Jaimie Gomez Arellano from Orgone Studios in London (GHOST BC, ULVER, CATHEDRAL, ANGEL WITCH /http://www.orgonestudios.com).
PARADISE LOST’s Nick Holmes (vocals) comments: “We wanted to approach the new album differently this time, by embracing the band’s VERY early days with the last few years. We have written a very dark yet melodic album, but this time many songs definitely have a death metal edge, which is something we haven’t done for a long, long time in PARADISE LOST.”
The new album is tentatively scheduled for a worldwide release via Century Media Records in late April 2015. Stay tuned for more news coming soon!
Posted in Whathaveyou on July 3rd, 2014 by JJ Koczan
Boy, what the hell happened with Nachtmystium? Back when they put out Instinct: Decayon Battle Kommand/Southern Lord and got picked up by Century Media circa 2007, there was no getting away from them. They were inevitable — the band that was going to both pioneer and save US black metal from being a pale imitation of superior European bands. Boldly defiant of their genre and remaking it at the same time. Now, already broken up for a year, their final full-length feels like little more than a footnote to squandered potential. Maybe that was the idea all along. What’s more black metal than saying fuck it to everything?
I’ve heard the stories about drugs and ripoffs and whatever else, and I’ll allow that stuff — whatever of it is true and whatever isn’t — will have a say in how a band is received over the long haul by a community, but wow. Looking around at bands like Agalloch, Deafheaven and any number of American black metal’s other current indie darlings, it just seems like Nachtmystium dropped out of that conversation awfully quick. Guess that’s how it goes sometimes.
Nachtmystium‘s final outing (until the reunion), The World We Left Behind, is out Aug. 5 in North America, Aug. 4 in Europe, New Zealand and Australia on Century Media, who sent the preliminaries down the PR wire:
NACHTMYSTIUM set to release highly anticipated final album ‘THE WORLD WE LEFT BEHIND’ August 5 via Century Media Records
‘THE WORLD WE LEFT BEHIND’ is NACHTMYSTIUM’s swansong, the final chapter in a tumultuous, controversial and always provoking history. A black metal memorial, oozing of desperation, gloom and depravity.
The nine song album is set for release on August 5th in North America and August 4th in Europe/Australia/New Zealand.
‘THE WORLD WE LEFT BEHIND’ track listing: 1. Intrusion 2. Fireheart 3. Voyager 4. Into The Endless Abyss 5. In The Absence Of Existence 6. The World We Left Behind 7. Tear You Down 8. On The Other Side 9. Epitaph For A Dying Star
Posted in Whathaveyou on May 13th, 2014 by JJ Koczan
Noted for his landmark design contributions to the Alien franchise and for his pioneering a dark surrealist aesthetic, Swiss artist H.R. Giger passed away yesterday at the age of 74. He’s recognized in metal circles for, in addition to a requisite poster on the wall, having worked with Celtic Frost and Triptykon on some of underground music’s most landmark cover art. Today, Celtic Frost/Triptykon frontman Tom G. Warrior (né Fischer; 2010 interview here) offers a remembrance for Giger, with whom he worked professionally and collaborated for many years.
The Obelisk offers condolences to Warrior for what’s clearly a deeply personal loss and to Giger‘s family, friends, fans and the many inspired by his work.
From the PR wire:
“I fight the impending lure of belated sleep For fear of waking up and you are gone”
Triptykon, My Pain, 2010
For the first time in 74 years, last night was a night not illuminated by the indescribable light that was H.R. Giger.
H.R. Giger became our mentor, against all odds, when we, somewhat audaciously, first established contact with him some 30 years ago. At a time when almost everybody ridiculed, ignored, or even obstructed the music the then almost completely unknown Swiss underground band Hellhammer was creating, Giger listened to us, talked to us, and gave us a chance. Not least at a time when he was at one of many peaks of his path.
A little more than a year later, his exceptionally stunning art made what might be one of Celtic Frost’s most important albums, To Mega Therion, even more significant. Other links to Giger’s universe also manifested themselves, almost as if it was predestined.
Eventually, after many more years, the mentorship became a friendship. It was a friendship and a personal connection I valued infinitely, and it also included his wonderful wife, Carmen, and many other remarkable people that were part of his universe.
When Celtic Frost came to an end so acrimoniously in 2008, H.R. Giger and his wife were among those who witnessed my uncontained despair and stood by me. That Giger subsequently agreed to collaborate with my new group, Triptykon, and thus enabled us to release our first album, Eparistera Daimones, with one of his most dramatic paintings on the cover meant the world to me.
It apparently pleased Giger, too. He told me so on several occasions, and he completely stunned me in October 2011 by proposing that we continue the collaboration between him and Triptykon. I would have never asked for such a thing, because I never would have wanted to appear insatiable. He brushed such reservations aside, and it was his mentorship, friendship, and art that enabled us, once again, to release a second album on which music and cover art formed a seamless symbiosis. Only a few weeks ago, he held the result in his hands and loved it.
Regardless of anything I may write about H.R. Giger, however, none of these words will ever be able to truly, accurately describe him as a person and as a friend. It is utterly inconceivable to imagine a world without his wit, his perception, his genius, his horizon, his determination, his humour, his friendship, and his immeasurable kindness. And yet, we are now left in exactly such a world.
Posted in Bootleg Theater on December 20th, 2013 by JJ Koczan
Fu Manchu, We Must Obey (2007)
I’ll gladly grant that there are way more obvious Fu Manchu records with which to end the week. Indeed, even the Californian fuzz legends themselves seem to have acknowledged by touring playing full records an audience preference for older material, if not actually the oldest, albums like 1996’s In SearchOf…,their third, and 1997’s subsequent The Action is Gohailed as heavy rock classics while much of the rest of their catalog, particularly the three LPs they’ve released in the last decade, are viewed with interest varied from superfan loyalty to utter discount from those whose allegiance lies with their ’90s output.
Fair enough. I can’t and won’t argue that In Search Of…isn’t genre genius, but neither do I think Fu Manchu‘s contributions ended with what’s commonly considered their most highly-regarded material. Whether it’s the early rawness of their 1994 debut, No One Rides for Free, or the striving to breathe new life into their established wall of fuzz in 2009’s Signs of Infinite Power by means of focusing on the SoCal punk and hardcore influence that served as the band’s drive when they got their start as Virulence in 1985, it’s strange to think of a band as being both classic and underrated — unless you think of all heavy rock as underrated in the wider pop-cultural sphere — but Fu Manchu seem to be exactly that. It’s a fascinating position for a group who are past 25 years together, who’ve toured the world and who’ve influenced a generation of bands in their wake.
So yeah, I could’ve closed out the week with The Action is Go, and I’m sure at some point I will, but with “Shake it Loose,” the opening title-track, “Hung out to Dry,” the slow-grooving “Land of Giants,” “Sensei vs. Sensei” and a cover of The Cars‘ “Moving in Stereo” to its credit, I decided to roll with We Must Obey as an example ofFu Manchu‘s work that never quite got the attention it deserved. If that makes me a sucker for the band, I can think of far worse things to be. As always, I hope you enjoy.
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I know I had that Queens of the Stone Age live review on Monday, but I only reviewed one record this week, and it was an EP. In fact, over the last few months, I’ve been doing fewer and fewer reviews from week to week, and I find it unacceptable. I don’t believe in “resolutions,” but I may start imposing a word count on reviews — 500-700 words tops, let’s say — until I can restore some balance. It would be an interesting challenge for me anyway I think to have to say what I want to say about a record without hitting 1,000 words, which is where most of them hover nowadays when I do get to bang one out. If I do or don’t decide to do that, I need to figure out a way to deal with the anxiety I’ve come to feel about writing up records and still manage to keep my critical voice, which apparently has a thing for compound sentences.
Or maybe I should cut myself some fucking slack and just try to live out my meager fucking existence in the best way I can.
Yeah, not likely.
This coming week is the inexplicable federal holiday Xmas. If you’re of a persuasion to celebrate that or its more Jesus-ified equivalent, Christmas, I wish you a happy one. I’m traveling — of course, because that’s what I do now; unfortunately it’s not to Europe — south to see family and coworkers in Jersey, but I’ll be posting where and when I can. I’d like to get a list together of the best EPs, demos, singles, etc. I heard this year, and I’ll do my best to make it somewhat less… elaborate… than the Top 20 albums list that went up on Monday. Thanks as well to everyone who commented and shared that link.
Double thanks to everyone who’s submitted a list to the Readers Poll. I’ve really enjoyed seeing all the picks come in, the things people agree on, disagree on. I look forward to getting the final results together and sharing them when the time comes. If you haven’t added a list yet, the form will be up next week and then comes down the week after, so there’s time, but not too much.
Next week I review Clagg‘s new album and if I have a chance, do some more stuff to wrap up the year as well, best debut, favorite song live, etc., but it might have to wait until the week after. We’ll see how it goes with road time and all that.
Until then, I wish you a great and safe weekend and a great and safe holiday if you’re celebrating. If you’re not celebrating and you at least have the day off, I hope that’s at least relaxing. Cheers.
Posted in Whathaveyou on November 5th, 2013 by JJ Koczan
Hard to mess with Paradise Lost re-recording “Gothic.” Not that the original was in need of a revamp — frankly I think it still works even if it sounds dated — but it’s not like they’re saying there’s something wrong with the first version by making a new one. Amazing to think the places that Paradise Lost have gone sonically over their career, from their earliest days helping define gothic metal with the aforementioned song and album of the same name, to setting a course that a generation of European doom would follow alongside the likes of My Dying Bride and Anathema, each of whom has undertaken a varied journey as well.
A quarter-century on, Paradise Lost have hit on a solid balance of the elements that have shown up throughout their career. Their last two albums for Century Media, 2009’s Faith Divides Us — Death Unites Usand last year’s Tragic Idol, have been more than solidly executed, and they continue to refine what makes them who they are even as they seem to bask in the now-classic nature of their own atmospheres.
In other words, they like being gloomy and that’s just fine. To mark 25 years as a band, they just released the Tragic Illusion 25compilation of rarities, remixes, and re-recordings. The PR wire has the details:
PARADISE LOST releases 25th anniversary compilation, ‘Tragic Illusion 25 (The Rarities)’, today in North America
Gothic-doom metallers PARADISE LOST have released their 25th anniversary compilation, Tragic Illusion 25 (The Rarities), today in North America! To purchase Tragic Illusion 25 (The Rarities), please visit iTunes for a digital copy or CM Distro for a mint green 10″ vinyl (USA exclusive color; limited to 300 copies) with a CD insert.
Tragic Illusion 25 (The Rarities) track-listing: 1. Loneliness Remains* 2. Never Take Me Alive (SPEAR OF DESTINY cover version) 3. Ending Through Changes 4. The Last Fallen Saviour 5. Last Regret (Lost in Prague Orchestra Mix) 6. Faith Divides Us – Death Unites Us (Lost in Prague Orchestra Mix) 7. Cardinal Zero 8. Back On Disaster 9. Sons Of Perdition 10. Godless 11. Missing (EVERYTHING BUT THE GIRL cover version) 12. Silent Heart 13. Gothic 2013* 14. Our Saviour 2013* *=tracks that appear on the limited 10″
PARADISE LOST “Tragic Illusion 25th Anniversary” EU Tour w/ LACUNA COIL and KATATONIA Nov. 6th – Herford, Germany – Club X Nov. 7th – Aschaffenburg, Germany – Colos Saal Nov. 8th – Dordrecht, Netherlands – Bibelot Nov. 10th – Utrecht, Netherlands – Tivoli Oudegracht Nov. 11th – Nuremberg, Germany – Hirsch Nov. 12th – Vienna, Austria – Arena Nov. 13th – Solothurn, Switzerland – Kofmehl
