To simply define Paradise Lost as an institution in metal, would be an understatement. The West Yorkshire bringers of doom and gloom have forged a fiery path with a music that never stayed encapsulated or restrained within a genre. Starting with death-doom and growling vocals, they perfected a gothic-doom formula in the mid-to-late Nineties, before thrusting themselves in another extreme, with the pop-rock-electronic Host. While never fully embraced by the fans, this experiment marked a steady turn around towards heavier and heavier albums, which lead to the band fully returning to death-doom, complete with brutal vocals. That’s what I call a full circle.
However, Paradise Lost have always looked forward and expanded their sound, so their 17th album Ascension is not a nostalgic nod to the past, but a collection of songs possessing the best of all musical periods and influences so far. It’s amazing that the core of the band has remained intact from the start in 1988, with Greg Mackintosh (lead guitars, keys), Steve Edmondson (bass), Aaron Aedy (rhythm guitars) and Nick Holmes (vocals). Jeff Singer is the “new” guy behind the drums, joining the band for the second time after 2007’s In Requiem. It should be pointed out, however, that Jeff joined after the recording of the new album was completed and the drums in Ascension were recorded by Guido Zima Montanarini (also in Greg’s crust-death band Strigoi).
So, what about the music, you say? The opening duo of Serpent On The Cross and Tyrants Serenade crushes with brutal doomy death and Nick roaring his guts out, Greg’s trademark melodic leads only painting an even darker picture. Salvation is the first place where Nick sings with clean vocals for the better part of the song and instantly wins me over the first two. Can I make a confession? I never really liked the “growling-style” death metal vocals in Paradise Lost. I listen to a lot of death metal, don’t get me wrong, I just think Nick sounds so much better singing cleanly and I swear the songs benefit from his melodic voice so much more than the more-or-less one-dimensional death grunts. Silence Like The Grave once again brings forth more brutal vocals with fantastic guitar melodies by Mackintosh. Then, half-way through the album, my secret wish is fulfilled with a bunch of amazing songs relying on Nick’s softer singing style and, man, how much better these are!
Lay A Wreath Upon The World is a gothic-doom serenade of sadness, with a really strong chorus, while Diluvium uses rough vocals only as an accent, but not drowning the otherwise masterful clean performance by Holmes. Savage Days is even more melodic (to my delight), bringing to mind the style in 2005’s eponymous album. Sirens is my absolute favourite song in the album, with very original guitar riffs and drum patterns, complete with an unforgettable chorus. Deceivers is almost as strong, once again melody prevailing over brutality, while The Precipice is heavier, with another batch of brutal vocals, but the winner here are the hypnotic guitars driving the song forward.
This is where the album’s regular track-list ends, but the good people in Nuclear Blast have provided us with the two bonus songs as well, so I have to say they as just as good. This Stark Town is heavy, dark and brooding, Holmes showing us once more he can switch effortlessly from one singing style to another in mere seconds. The second bonus track to be found in limited editions is A Life Unknown, which is another classic Paradise Lost composition, again somewhat bringing me twenty years back.
If I can make a comparison, Ascension sounds like a cross between Icon (Greg’s leads, harmonies and riffing style is very close to Shades Of God and Icon) and the Paradise Lost album from 2005. Does that excite you? Well, it should, because Paradise Lost have once again created one hell of an album.
9/10
Ascension will be out on September 19th and can be ordered from HERE
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