Despite Paradise Lost being an active entity for 37 years this is the first time I’ve listened to the pioneers of what we now call death-doom. Interested in expanding my metal knowledge I ventured to listen to the lead tracks of their 17th studio album Ascension. The melodies and heaviness really stood out, so I was keen to hear the album in full. The current line-up of Nick Holmes (vocals), Gregor Mackintosh (lead guitar/keyboards), Aaron Aedy (rhythm guitar), Stephen Edmondson (bass) and Jeff Singer (drums) are masters of their trade as this album ably demonstrates.
With superb production from guitarist Gregor Mackintosh, ornate guitar lines weave an elegant melody over waves of distortion to introduce the album opener ‘Serpent On The Cross’. Switching to a full power mode the double kicking drums and scorching guitars hit hard as Nick growls with vigorous rage. Despite the heaviness of this aural onslaught there’s a beautiful and melancholic melodic atmospheric. ‘Tyrants Serenade’ features a stunning melodic guitar line again, and the powerful chugging groove eases back on the venom of the opener. The chorus is absolutely epic and memorable showing the band’s songwriting skills honed through the years.
‘Salvation’ drops the tempo even further as the band stretch out the riffs to a funereal pace. In doing so guitarist Gregor gets to work some magical spidery melodies. Once again there’s a big chorus of clean vocals that works so well to add some dynamic to the track. The combination of melody and heft and the switching of growled/clean vocals reminds me a lot of In Flames. If anything, I find this album even easier to digest than the last In Flames album. The bombastic ‘Silence Like The Grave’ sounds like black album Metallica, in a very good way. Nick pulls off a fine Hetfield-ish vocal and the guitar solos are pure Hammett to boot.
At this stage of proceedings, a little calm is welcome and the acoustic/stringed intro to ‘Lay A Wreath Upon The World’ brings the relief. It’s quite the drop in volume and of course they’re not going to leave it at that as the song explodes abruptly with a sublime wailing female vocal. It’s quite unexpected and absolutely brilliant, intertwining with the crushing guitars and crashing drums. The guitar solo is exquisite and fits the tone of the song impeccably. ‘Diluvium’ drags out the riffs and beats while stunning guitar melodies writhe like snakes in a pit. Then there’s a subtle shift in gearing as the song finds guitars duel with voice and it’s most gratifying.
A powerful ballad like section rises from the ether in ‘Savage Days’ as swathes of distorted guitars engulf with beautiful melodic lines arcing into the sky. With Nick opting for a clean vocal, you get some breathing space, and it makes for a wider spectrum of sounds. ‘Sirens’ opens with some siren sounding guitar riffs before charging into an old school barrage of chugging riffs like early Metallica. The chorus has the feel of Tool about it with the vocal effects and a superb winding melody. Jeff’s thunderous drums pack a punch with every kick drum thud and snare drum wallop lead the way on the super charged ‘Deceivers’.
Ascending waves of grinding guitars pull down the mood on the slow paced ‘The Precipice’ as Nick sounds like he’s gargling razor blades. The dynamics of the song bring a volcanic flow of scorching riffs and solos. Ghostly voices fuse with an icy riff to open the mighty ‘This Stark Town’ before it settles into an Alice In Chains like verse. Switching to a choppy chorus Nick dominates with a snarling vocal that is scornful and borderline demonic. Just listen to the power of the double kicked drums and marvel. The album closes with the hard charge of ‘A Life Unknown’, the beats bordering on a glam stomp for a moment. There’s room for another big epic chorus to help us on our way. The wandering guitars angle and poke like Billy Duffy from The Cult and you realise that these inventive sounds are Paradise Lost’s unique selling point. Fitting that this is the last sound you hear.
I’m a tad shamed that this album is my first foray into Paradise Lost, given how long they’ve been purveying their music. If anything, it’s intriguing how modern bands who found their sound inspired by the old brigade are what has led me to them. Even after all these years Paradise Lost sound vital, and the playing and songwriting on this album shows a band still creating mighty fine metal.
