PARADISE LOST’s GREGOR MACKINTOSH On Producing Ascension, Imperfections And Staying True

Interview by Angela Croudace
Three decades into their career, Paradise Lost remain masters of
gothic metal’s melancholic grandeur. With their new album
Ascension, guitarist Gregor Mackintosh took on the dual role of
musician and producer—a responsibility he says wasn’t a giant leap,
given his growing involvement in shaping the band’s sound over
recent albums.
“In the past, producers used to be heavily involved in songwriting
and structure,” Gregor explained. “Now it’s more about getting the
sound in your head onto the record.” While self-producing offered
him complete creative control, it also brought the risk of
over-polishing, a trap he deliberately avoided. “Metal’s become so
sanitised, chasing perfection until all the character is gone. I
wanted Ascension to have flaws that give it life.”
Inspiration for Ascension struck after a period of creative
standstill, triggered, unexpectedly, by the band’s re-recording of
their 1993 album Icon. “It put me in a different headspace,” Gregor
says. The record’s visual identity came together just as
organically, centred on George Frederick Watts’ Victorian painting
The Court of Death, whose calm central figure surrounded by grief
perfectly mirrored the album’s themes.
For Gregor, Paradise Lost’s longevity comes from refusing to chase
trends. “We’ve always done our own thing, not been part of any
scene,” he says. “If it resonates, great—if not, so be it.” That
independence extends to songwriting, where fan expectations take a
back seat to authenticity.
And while misery remains at the heart of Paradise Lost’s music,
Gregor sees its appeal as intensely uplifting. “Dark music is
evocative; it makes you feel something. It’s not about being
miserable, it’s about connection.”
Australian fans may get to experience Ascension live in early 2026,
with tour plans currently in discussion. “Fingers crossed,” Gregor
says. “We’d love to be back.”


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