Ascension
Paradise Lost
Paradise Lost have a very reliable relationship with misery. On Ascension, they make it sound surprisingly full of life. The guitars are heavy, Nick Holmes moves between clean singing and a much harsher delivery, and the melodies give the darkness a clear shape.
Serpent on the Cross is an excellent opening. Gregor Mackintosh's lead guitar adds beauty to a song with a thoroughly ugly foundation. That contrast is one of the band's strongest tools, and it works especially well here. Tyrants Serenade follows with more of Holmes' clean vocal character, giving the record another way to hold your attention.
Silence Like the Grave has a strong, slowed-down attack, while Sirens brings a more direct rhythmic push. The changes are small enough to keep the album coherent, but substantial enough that the songs don't all serve the same purpose. Paradise Lost have several decades of their own sound to draw from, and they use that range intelligently.
Salvation is a highlight. Its slow weight gives the guitar melody plenty of room, and the reference to Chopin's funeral march fits the song's scale without becoming a distraction. The clean chorus makes the contrast even stronger. It's a good example of the band making something memorable from a very dark set of ingredients.
Lay a Wreath Upon the World develops from a more restrained, acoustic beginning. The gradual expansion gives it a different emotional pull, and the arrangement shows how much the band can do when they let a song grow at its own pace.
The album stays within a familiar area of gothic doom, so listeners looking for a major stylistic change won't find one. Its strength is in the confidence and variety inside that area. The later Deceivers also gives the sequence a welcome burst of energy.
Ascension is a substantial, carefully written record with several standout songs. It gives the band's familiar darkness enough movement and melody to remain inviting. Paradise Lost still know how to make a gloomy day sound like a good use of your time.
