Here they are again: the masters of mournful melodies. It’s been five years since the band offered us solace in miserable times with Obsidian. That the warm sound of that record was more than welcome back then is no secret. You, our readers, even voted it Album of the Year 2020 here at Zware Metalen!
Now, at long last, comes its successor: Ascension. And speaking of “hard-hitting”… After the (predictably sombre) intro to opening track Serpent on the Cross, Nick Holmes hurls us into the dark depths, his vocals ragged and relentless, aided by what can only be described as genuine thrash riffs. We didn’t see that coming. In contrast, Gregor Mackintosh’s instantly recognizable drawn-out guitar lines seem to offer a moment’s respite. And though even those are brusquely cast aside by a thunderous riff, they do sneak their way back in throughout the song, much to our relief. Even so, that light is fleeting, as a growling Holmes makes it crystal clear once again: “The first chime is the last time your holy soul will rot!” A beastly (and beautiful) beginning, that honestly could have gone on even longer than its six-minute runtime.
For those who loved the previous album (or a classic like Icon) there’s no reason to be concerned. Several tracks on Ascension still bathe in that familiar warm atmosphere, filled with glowing guitar work and Nick’s comforting baritone. In that sense, Ascension feels like a homecoming of sorts. But that’s not to say the album is repetitive or uninspired. On the contrary: the guitar work radiates even more inspiration than on Obsidian. In our 2020 interview with Gregor, he said he’s particularly fond of guitarists who know how to “underplay.” Well, he may be economical in the number of notes he plays, prioritising melody over speed, but certainly not in the impact of his guitar parts. It remains impressive how he manages to (almost) solo his way through an entire album with such emotion, layering leads over the riffs, under the vocals, always in service of the song. And the inspiration behind all those themes? Apparently quite simple: just humming different melodies over the music until something sticks.
But let’s get back to that warm bath. One track that definitely belongs in it is the second one, Tyrant’s Serenade. In a minor key, guitar and drums plod forward while Nick delivers clean vocals describing the cold and loneliness. Somewhere above it all, Gregor pulls and tugs with his guitar, trying to keep the protagonist from freezing in place. In vain, it seems. Tracks like Silence Like the Grave and Sirens also drift comfortably in this space, each with their own quirks. In the former, Gregor’s solo bends the strings a little further than usual, almost to the point of dissonance (I was immediately reminded of Henk Westbroek saying over 30 years ago that “singing has never been Paradise Lost’s strong suit,” though that’s clearly not the case here). The latter track, with its light Metallica influences, has something distinctly Icon-esque about it. Fitting, since the band re-recorded Icon just a few years ago. It seems they’ve carried some of that energy into this new effort. The chorus doesn’t quite reach Icon‘s heights—though Nick pushes his voice impressively high (which surely isn’t easy live)—but the driving bass brings a surge of energy that more than makes up for it.
Time to pick a personal favourite. Salvation (like the opening track) is a heavier outing, with a lumbering tempo, growls, and sharp, at times wobbly guitar lines that recall the band’s earlier (though not earliest) days. Elusive and intangible, salvation always seems just out of reach. But the real highlight is the quicker section just past the halfway point, where I’d almost bet money I heard the hypnotic voice of A.A. Nemtheanga from Primordial soar above it all. I haven’t read anything about guest appearances, though. Either way: goosebumps! And why not throw in an unabashed heavy metal solo while we’re at it, plus some triple-layered clean vocals from Nick.
A similar physical reaction follows with perhaps the strongest track on the album: Lay A Wreath Upon The World features a moving, serene but powerful chorus. The song, however, begins almost in “Hello darkness, my old friend” territory—whispering—until a siren (so at least one guest vocalist!) lures us into a musical maelstrom of heavier drums and guitars. It’s a cue for Nick to (possibly with some help from a computer) raise his vocals to reach the same register as the (once again) powerful solo that subsequently flows from the six strings.
Let’s also mention Deceivers, clocking in at a concise three and a half minutes. That brevity suits the angrier, more punk-infused lyrics and the relatively straightforward riffing. It’s not the strongest track on the album, but hearing Gregor put in the work is still a joy and the track certainly adds a welcome bit of variety. Diluvium, on the other hand, is beyond reproach. Its riffs and Nick’s vocal delivery veer slightly towards Cathedral, though always with that signature dragging, emotional guitar behind it all. The bridge and chorus have an arena rock grandeur, and Gregor must’ve thought a touch of rock-and-roll guitar wouldn’t go amiss right before the riff plunges everything back into damnation.
The sound (once again produced by the ever-prolific Gregor) is spot on. Just listen to how thick, massive and warm the opening riff of the fourth track oozes from your speakers. Rammstein even came to mind for a second. For contrast, check out the moment in Serpent on the Cross when everything drops away except a clattering bass. Brilliantly done. New drummer Guido, who plays alongside Greg in the slightly more brutal Strigoi, now also delivers heavy blows in Paradise Lost. He anchors everything solidly (hear him thunder away in Sirens), laying down a rock-solid foundation that allows everyone else the freedom to shine.
After the melody-rich This Stark Town, driven forward by Guido’s energy, the extended version of the album comes to a powerful close with A Life Unknown. One last time, we hear those tear-tinged guitars, a strong bridge, and (surprisingly) a middle section that practically begs for festival-goers to clap along (we assume under the watchful and stern gaze of Holmes). The chorus has an appropriately grand feel, and we’re treated to one more soaring solo. As it gradually dissolves into a void of sound, all that remains is reverent silence.
A long review, but the conclusion is simple: with Ascension, Paradise Lost once again rises to great heights.(Yes, I went there!)
Score:
86/100
Label:
Nuclear Blast Records, 2025
Tracklisting:
- Serpent On The Cross
- Tyrants Serenade
- Salvation
- Silence Like The Grave
- Lay A Wreath Upon The World
- Diluvium
- Savage Days
- Sirens
- Deceivers
- The Precipice
- This Stark Town (bonustrack)
- A Life Unknown (bonustrack)
Line-up:
- Nick Holmes – Vocals
- Gregor Mackintosh – Guitar
- Aaron Aedy – Guitar
- Steve Edmondson – Bass guitar
- Guido Montanarini – Drums
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