Paradise Lost – Ascension

More than five years have passed since the release of Paradise Lost’s previous album, Obsidian. It was an album that, in many ways, served as a look back on the band’s three-decade-long recording career. The album came after the band completed a full circle of sorts with 2017’s Medusa, which marked their return to their very roots. It was a gradual return that started after the release of what was essentially an electronic album in 1999, the magnificent Host. Since then, with each subsequent release, the band has grown progressively heavier, culminating in Medusa.

Closing that full circle felt like the end of an era, and Obsidian did a great job of celebrating the majority of the band’s three-decade-long recording journey. As such, it virtually served as a far more interesting version of a “best-of” album.

But now, with all that behind them, where does the band go on their 17th studio album, Ascension?

Well, the latest offering marks the longest gap between two Paradise Lost albums, suggesting the band took their time to figure that out. On the other hand, in the meantime, vocalist Nick Holmes also released an album with Bloodbath, as he did with Host (the band, not the album), where he was joined by his Paradise Lost bandmate Greg Mackintosh. Paradise Lost also re-recorded their classic 1993 album Icon and released it under the name Icon 30 to commemorate its 30th anniversary.

So, it’s not like nothing has happened since their previous release – quite the opposite, actually.
Given that Obsidian was generally very well received, it’s perhaps no surprise that Ascension sees the band continuing down a similar path.

Ascension is the first album in a decade not produced by Jaime Gomez Arellano, and the first Paradise Lost album produced by the band’s guitarist and main songwriter, Greg Mackintosh.
Sonically, however, this doesn’t result in anything radically new. The album is clean, modern-sounding, and well-executed. But the major difference lies in its significantly richer and more lush sound. This makes for a warmer, smoother listening experience without compromising the energy. Ascension fills the room completely without overwhelming the listener – and it suits the music so well. In fact, the production makes the album flow beautifully, despite the differences in the nature of the songs.

Musically, like on its predecessor, the band reflects on a large portion of their career. But this time around, they also draw inspiration from some of the more obscure releases in their catalog, such as the underrated 2005 self-titled album. Beyond that, the band explores these inspirations further in ways that make them genuinely interesting. It’s also clear that re-recording Icon impacted Ascension – songs like “Sirens” and “Silence Like the Grave” bear the mark of the Icon/Draconian Times era of Paradise Lost. Elsewhere, “Deceivers” could easily fit on Tragic Idol, while “Lay a Wreath Upon the World” and “Savage Days” draw from the albums the band recorded in the early 2000s.

The songs are driven by big riffs, Mackintosh’s unique melodic guitar leads, and some of the strongest melodies the band has written in a while. Often, they are enhanced by orchestration, keyboards, and even acoustic guitars, all of which add depth to the album’s texture and atmosphere.

There is an intense, impactful quality to Ascension. And while it is basically as heavy as Obsidian, it often feels even heavier due to its atmosphere and emotional weight. A perfect representation of this is “Salvation,” one of the most intense and epic tracks of Paradise Lost’s 17-album-long career. It’s almost excruciatingly gorgeous and emotionally heavy. “Salvation” is a standout on an album full of highlights.

Nick Holmes is one of those rare singers who keeps getting better with age. He shifts effortlessly between melodic, growled, and everything in between. His performance shows an impeccable sense of timing and hooks and may well be his most diverse to date. Just as impressive is his emotional delivery.

This deep into their career – and with such a profound impact on the genre – it’s unlikely Paradise Lost will ever again focus on fundamentally reinventing their sound. But looking back, the band has experimented more than most. Now, they’re at a stage in their career where they can draw inspiration from their massive and massively impactful back catalogue. At the same time, they continue to expand upon it. And in 2025, they come across as utterly fresh and motivated.

Paradise Lost doesn’t release weak albums, which makes the fact that Ascension is one of the strongest albums the band has released in the last quarter-century all the more staggering.

www.paradiselost.co.uk