Paradise Lost : Ascension
What good is there in engaging with miserable art? I’ve been drawn to transgressive art for much of my adult life, and I find that the value is in the author’s intent: Is the messaging miserable for the sake of edginess, or is there something deeper at work? For Paradise Lost, the misery means something. In discussing the themes behind Ascension, the band’s 17th studio album, vocalist Nick Holmes says, “The album title is taken from the belief in rising to the better place, in fiction from Earth to heaven, and all the requirements that go with that. In real life, people are often striving to get to a better place from birth, trying to be a better person, regardless of the fact that the only reward is death.”
Since their inception in 1988 in Halifax, West Yorkshire, Paradise Lost have been committed to a uniquely gothic take on doom metal. While their lyrics are often dreary, the instrumental side of their music presents a compelling blend of melodic gloom. Their approach has only gotten stronger over the years, with Ascension standing as a prime example for why Paradise Lost are among the best at what they do.
Melody might not be an immediate association with such somber music, but Paradise Lost seamlessly combine ferocious riffs with atmospheres reeking of despair. “Serpent On The Cross,” the record’s opener, begins with a build-up of thunderous melodic droning before building up into speedy, electrifying riffs. These distinct elements never clash sonically with each other, nor with the emotional attitude of the lyrics. Their thrash-heavy instrumentation on “Silence Like The Grave” creates an ominous atmosphere that reinforces Holmes’ voice as he sings, “The tortured face in a damaged life/A thought serene is what you dream to fear/Of all the lowliest parasites/Dеvouring freedom/Then cowering with no virtue.”
Paradise Lost have built up a reputation as a powerfully emotional act over the years due their ability to (mostly) avoid monotony. There are moments throughout “Savage Days” where the band’s instrumentation erupts into melodic blooms; while not entirely distorted, there’s an intensity to these moments that provide an almost tactile grit. Similarly, alongside the prominent droning doom quality featured in “Sirens,” guitarists Gregor Mackintosh and Aaron Aedy weave in a power metal influenced melody into the song.
Holmes’ lyrics speak primarily to humanity’s ignorance, whether it comes in the form of the pointlessness of war (“Silence Like The Grave”), or willingness to follow orders blindly in the name of religion (“Serpent On The Cross”). On the latter, Holmes told Metal Hammer, “If someone’s in a vulnerable position in their life and they’re looking for something to grasp onto, then that’s the seed for extremism. That’s not a new thing; that’s always been the case. Religion is a good crutch for that, that extremist thing.”
The appeal of the misery at the center of Ascension may come down to your willingness to reflect on the messaging. Do you just accept life as doomed, or do you choose to think about what’s being conveyed and consider your role as a human being and what you can do to fight back against the darkness? This philosophical potential is one of Paradise Lost’s greatest strengths. They don’t make feel-bad music for the sake of itself; rather, with Ascension, Paradise Lost provides something more than just a musical challenge. It isn’t easy striking a balance between electrifying instrumentation and a thoughtful lyrical approach, yet, for nearly 40 years, Paradise Lost have mastered their craft.
Label: Nuclear Blast
Year: 2025
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