This review could have started in a rather cliché way, by referencing one of the infamous debates in the metal scene—whether it’s right or fair for a band to carry on without one of its most iconic and fundamental members. In this case, the very cornerstone of PAGAN ALTAR, Terry Jones, who passed away in 2015 at the age of 69.
Fortunately, after the ecstatic “Mythical & Magical” (2006), we had the chance to hear his voice once more, posthumously, on the beautiful and emotionally charged “The Room of Shadows” (2017), thanks to the relentless efforts of the band’s guitarist and son of the legendary frontman, Alan Jones.
And then, what?
This truly unique traditional heavy metal band, a product of the NWOBHM movement and an unwavering torchbearer of the genre’s true spirit—one of the most important cult-status bands with a distinct occult doom sound, dating back to 1978—seemed to have completed its journey after nearly 40 years of existence and only a handful of albums, all of them outstanding and unforgettable.
Yet, great news comes from the camp of Dying Victims Productions: PAGAN ALTAR are not quite dead—yet!
Because the old guard—Alan Jones (guitars), Diccon Harper (bass), and Andy Green (drums), the trio that participated in “The Room of Shadows”—returns eight years later, now joined by Brendan Radigan (SUMERLANDS, SAVAGE OATH, TORTURE CHAIN) on vocals, and Denis Schneider (guitars, live), to deliver PAGAN ALTAR’s sixth full-length studio album. This release not only continues their precious legacy but also stands as a remarkable and enviable addition to their discography.
So, if I were to return to the question I posed at the beginning, I’d say that although I used to be highly critical in my younger years of bands resurrecting themselves from the ashes in all sorts of ways, after nearly forty years of journeying through music, I no longer hold such biases. Especially when it comes to beloved bands and carefully crafted, well-intentioned releases that genuinely respect the past while boldly looking toward the future.
Is “Never Quite Dead” such a release?
With my hand on my heart and with great joy, I shout an emphatic, heartfelt YES!
First and foremost, special mention must be made of Brendan Radigan, who had the difficult and demanding task of stepping into Terry Jones‘ shoes behind the microphone. Not only did he rise to the occasion, but he delivered an astounding performance, truly pouring his soul into it!
But what about the compositions and songwriting?
As Alan Jones details in the album’s liner notes, nearly all the songs—except for the closing track, “Kismet”, which originated as a precursor to Alan’s band MALAC’S CROSS in the early ‘90s—were written while Terry was still alive. This ensures that “Never Quite Dead” remains a truly authentic PAGAN ALTAR album. From the RAINBOW-infused rocker “Saints and Sinners” to trad-doom juggernauts like “Liston Church” and “The Dead’s Last March”, leading up to the emotional climax of “Kismet”, the record showcases every quintessential aspect of PAGAN ALTAR in an incredibly compelling fashion—even the folkish instrumental “Westbury Express” keeps the myth and magic alive!
The first single, “The Dead’s Last March”, sets the doom-laden tone of the album, with Radigan’s vocals—who also penned the lyrics—sending shivers down the spine, eerily capturing Terry Jones’ essence. It feels like a true invocation of his spirit, permeating the entire song. A mournful anthem and one of my personal favorites from the album.
The slow and heavy nature of “Well of Despair” and “Liston Church” stands in contrast to “Saints and Sinners”, the last song PAGAN ALTAR were working on before the band’s initial split in 1984, which has a faster, more playful character.
The pair of “Madame M’Rachel” and “Madame M’Rachel’s Grave” in the middle of the tracklist crafts a chilling mini-concept horror story—ethereal at its start, wild and menacing as it unfolds. This tale is based on an urban legend from St. Mary’s Church graveyard in Rotherhithe that a young Terry Jones encountered. When he was about eight or nine years old, the neighborhood kids dared each other to stand atop the grave at exactly midnight and shout, ‘I’m not afraid of Madame M’Rachel!’ Whether Terry actually did it or not remains unknown, but his songs have immortalized the legend for generations to come!
Closing out the album, both “Westbury Express”, a LED ZEPPELIN-esque folk interlude, and the nine-minutes long “Kismet”—originally written around 1991—stand as exceptional additions. The latter is undeniably my favorite track on the album; mysterious, bluesy, hauntingly melodic, and deeply touching – EPIC!
So, let me wrap it up for you: “Never Quite Dead” is yet another true triumph for PAGAN ALTAR!
Fans of CIRITH UNGOL, MANILLA ROAD and PENTAGRAM, WYTCH HAZEL, COUNT RAVEN and early-WITCHCRAFT, rejoice! This one is an unexpected gift for all of you!
Honestly, how much more beautiful, magical, bearable, and cathartic is the world with this band still in the game?
Never quite dead, INDEED! More ALIVE AND KICKIN’, I’d say—and they better stay this way for as long as possible!
“Never Quite Dead” will be released on April 25th on several different formats by Dying Victims Productions, including a Ltd Marbled Vinyl Box Set, with insert, A1 sized poster, sticker, post card, woven patch, silkscreened backpatch, metal pin, posterflag, vinyl slipmat and download code; the album will also be available as both CD and LP.
Check the discussion about the album in our forum pages.
You can pre-order the Box Set, CD and LP here.
