The first impression one gets when listening to the latest release from British veterans Paradise Lost, is just how monumental everything sounds. From the opening riff of the album’s introductory track, “Serpent on the Cross,” to the closing notes of “The Precipice,” the sonic architecture of the songs evokes the grandeur of wandering through labyrinthine corridors of an ornately constructed cathedral.
With each track unfolding like a descent deeper into the structures mighty halls, Greg Mackintosh's guitar work creates masterfully layered arrangements, weaving melodic lines that drift across the production’s atmospheric expanse, juxtaposed by powerful percussion and commanding bass, perfectly enhanced by the albums meticulous production.
Important as the production might be however, it would be worthless if the songs themselves did not reflect the myriad influences shaping the band’s legacy. From the rawness of death metal and the sombre tones of doom right through to the subtle pop sensibilities of the bands One Second era, the songs on Ascension possess a signature melancholic mood that is simultaneously uplifting and introspective.
"Salvation" stands out as a perfect example of this amalgamation as it manages to highlight, not only the bands classic death/doom influences before sequencing to a more straightforward rhythmical drive, but also Nick Holmes impressive vocal range as they transition effortlessly from guttural growls to cleaner tones reminiscent of Metallica’s James Hetfield.
Further on, lead single, ‘’ Silence of the Grave’’, not only encapsulates Paradise Lost's ability to craft accessible dynamics and consistently engaging arrangements but also embraces a more conventional metal approach with a down and dirty killer groove that Lemmy would have been proud of garnered with lyrics about institutionalised corruption.
While the following “Lay a Wreath Upon the World” revisits elements reminiscent of the band’s Host and Believe in nothing era, albeit with enhanced compositional complexity, it is at this point in the albums progression that the listener first becomes aware of its narrative cohesion, evident in both the individual song structures and overall sequencing of the tracks.
Able to lead listeners through diverse emotional and musical terrains, often within a single composition, the album features succinct, energetic songs distinguished by exemplary guitar work and forward driving momentums. Tracks like “Diluvium,” evocative of “Colossal Rains” from Icon, particularly stands out as a personal favourite with its intricate yet approachable drum patterns and distinctive grooves that add a slightly progressive touch to proceedings.
With some of the later tracks such as Sirens and Deceivers sustaining the high compositional standard albeit in a more aggressive fashion reminiscent of the bands death metal orientated roots, the remainder of Ascension not only encapsulates everything Paradise Lost is about in the form of heavy and doomy yet accessible and dynamic sonic landscapes but is also a testament to the bands longevity making Ascension an album that could easily be considered one of the best releases of 2025.