Review: Pagan Altar “Never Quite Dead”

Release date: 25th April 2025

PAGAN ALTAR are the quintessential cult band. Formed in 1978 during the nascent stages of the NWOBHM movement, they crafted their unique sound onstage, known for their dark and theatrical live shows. Although rooted in doom metal — a subgenre still taking shape at the time — their sound was also deeply influenced by traditional English folk and hard rock. Despite their undeniable presence in the UK, it wasn’t until the release of Volume 1 in 1998 that the rest of the world learned about this elusive band, even though the album had been recorded in 1982. With that, the cult following of PAGAN ALTAR began to grow, and listeners searching for rediscovered gems found new life in their sound.

By 2004, the band had unearthed several treasures. First, The Time Lord EP was released, capturing the very earliest days of PAGAN ALTAR, followed by Lords of Hypocrisy. Originally recorded between 1982 and 1984, it was re-recorded in 2004, marking the band’s official return to the scene. The next year saw the arrival of Judgement of the Dead, a collection of songs written between 1978 and 1981, recorded in 1982, and remastered in 1998 with an added bonus track from 2004. As the past merged with the present, Mythical & Magical emerged in 2006, a true reflection of PAGAN ALTAR’s peak. The album blended material from the late ‘70s and early ‘80s with fresh recordings from 2005 and 2006. After that, the band released only two new tracks over the next few years, one in a 2007 split with Jex Thoth, and another in 2011. However, tragedy struck in 2015 when founding vocalist Terry Jones passed away after a battle with cancer.

Before his death, Terry and his son, co-founding guitarist Alan, had been working on what would become the band’s final album. The Room of Shadows was completed and released in 2017, proving that PAGAN ALTAR wasn’t done yet. But in an unexpected twist, PAGAN ALTAR defied time with the release of Never Quite Dead. While it carries the weight of the past, particularly with Terry Jones’ signature vocal style, the album is undeniably rooted in the present. On vocals is Brendan Radigan, known for his work with Magic Circle, Sumerlands, and Savage Oath. His mournful yet powerful delivery pays homage to PAGAN ALTAR’s legacy while adding his own flavor to the mix. As Alan Jones explains in the liner notes, nearly all of the album’s tracks — except for the closer “Kismet,” which traces back to Alan’s band Malac’s Cross — were written while Terry was still alive, making Never Quite Dead an authentic continuation of the band’s spirit.

From the classic rock-infused opener “Saints and Sinners” to the doom-laden anthems like “Liston Church” and “The Dead’s Last March,” the album covers every facet of PAGAN ALTAR’s signature sound. Even the folk-inspired instrumental “Westbury Express” continues to capture the mythical and magical essence of the band. Never Quite Dead is proof that PAGAN ALTAR’s legacy is far from over — it’s alive, and thriving.

Review

1 Saints and Sinners begins the album and straight away I was caught by its uplifting and bright mood. It is this kind of mid tempo foot stomper with those kind of retro rhode type of keys in the background. The vocal work in particular is something I am fond of as it is so fitting to the rest of the music. Especially the layered vocal sections on the choruses. The guitars and bass lines feel rocking and fully charged. Personally I have never listened to the band before I can hear that retro hardrock kind of vibe straight away. And probably would have guessed they were formed in the 70s without knowing it! Great song to start things off.

2 Liston Church comes with some gentle acoustic guitar chords topped by moments of sweet delicate notes. Eventually Brendan comes in with a calm vocal section literally making me want to close my eyes and focus in on what he is saying But then, before deep rhythm guitars join in. Everything is quite calm but then it all starts to pick up. The kick snare beat latched to a loving melody sings out before the heaviness awakens the song for a moment or two. It then all strips back to what we had in the intro section – calm acoustics and soft vocals. The song entertains my mind with its strong story, dynamics and powerful musical structure. The later half for me was a highlight as once again I was really able to get into feel of the song. The solo was pretty damn epic and made the song feel like some sort of crusade across the lands.

3 Madame M’Rachel once again starts things off light and airy. Brendan takes center stage with some great vocal lines while my mind drifts through this dreamy soundscape. It is made up of acoustic guitars that echo and synth notes that create this soft bed of clouds. It feels the opposite to what has been done so far on the album and to be honest it is a welcome change. There are some lead licks which add some groove and feeling. It did kind of end up feeling more of an expressive kind of improv.

4. Madame M’Rachel’s Grave kicks things into high gear with vibrant guitar work. Big, powerful chords are woven together with seductive leads, effortlessly transitioning into an upbeat groove. Alan, Diccon, and Andy lock in perfectly, delivering tight, punchy instrumentation that drives the track forward with intensity and flair. I feel there is a lot more focus on the drum work at times as it rolls and cascades magnificently. The leads ring out standing tall above the mix and the solo squeals and calls out delightfully!

5 Well of Despair continues with even more acoustic scales that come through a mystical haze. Brendan has you fixated with his vocals before everything just punches in. It is literally a huge wall of rhythm and bass and tones which make the song feel thick and textured. This is tied to a slow half time 4/4 drum beat which adds some character. Some leads appear on top of this thick layer of rhythms. Lets put it this way. Imagine you are standing under an evening suns rays belting down on you. You see the heatwaves and feel the warmth on your face. That is how this feels! I guess some what hypnotic and intoxicating at the same time. I love how Diccon doesnt conform to following everything else but twists and turns on the bass! It drifts back to acoustics topped by some slurred kind of vocal!

6 The Dead’s Last March feels just last like that! This is another slower paced song but there is plenty going on here. You have lead guitar melodies that shine in places and riffs that get stuck in your mind. It feels like something lifted from the past and totally got me bobbing my head and back and fourth. Especially on the big crashes that highlighted different phrases of the song. Another rich and commanding song that is sure to get any listener moving in some way or another!

7 Westbury Express starts with the sound of a steam train going down a track letting off a whistle. This is the backing to a bright and beautiful acoustic guitar passage that adds a bit of a folk feel to the mix. It is only a short song at 1.26 yet warm passing thought. Interesting addition!

8 I am not sure I am prepared for Kismet as it its just over 9 minutes in length! However I am intrigued. The intro has got to be the best on the album so far. Its a calm collected mix of sweet, delicate acoustic guitars and gentle, soft vocal lines that crawl into your mind. I just feel like I want to sit peacefully, breathe slowly while burning some incense. For me it feels somewhat sad and bittersweet yet also loving and kind. Theres some absolutely wondering semi electrified guitar moments that are brief yet leave a lingering thought.

The vocals vanish into the atmosphere as everything comes in. I literally just got lifted off the ground by the guitar work that touches your shoulders and leaves a warmth inside your heart. A moment of energy and feel good vibes comes and goes before returning to another gentle moment. How ever this doesn’t last long! Brendan comes in with the rest of the band singing his heart out and it goes right through you. It switches to a different guitar pattern before we drop to some harmonised guitars that sing sweetly. The wide, massive sounds return! More passion and integrity are delivered through the vocals while the chords ring out like a rush through your body while the lead guitars sing to the heavens. Brendan comes back in delivering more epic vocal lines. Honestly, I find it hard to describe this awesome song. You get the idea go check it out!

Conclusion

This is my first proper time listening to Pagan Altar and I am certainly left intrigued. Upon reading the bio that came with this album I was surprised to hear the mix of influences such as hard rock, folk and doom. And I believe some of it is there in different strengths. The album is well balanced between the soft and hard hitting stuff and I think the bands sound has a lot character and charm, with Brendans vocals adding a unique touch. But the last song for me was what made the record. I am certainly going to go away and listen to more of the band!

TheNwothm Score: 8.5/10

Line-up:
Brendan Radigan – Vocals
Alan Jones – Guitars
Diccon Harper – Bass
Andy Green – Drums
Denis Schneider – Guitars (Live)

From London/UK – Boston/USA

Release info:
– Regular edition on black vinyl, with insert, poster, sticker, post card and download code.
– Special edition on silver vinyl, with insert, poster, sticker, post card, download code and patch.
– Limited Box set on marbled vinyl, with insert, A1 sized poster, sticker, post card, woven patch, silkscreened backpatch, metal pin, posterflag, vinyl slipmat and download code.
– CD edition with sticker and obi.
– MC edition with sticker, button, download code.
– T-Shirt, printed on Gildan Heavy Cotton
– woven patch

Pre-order:
www.dyingvictims.com
https://dyingvictimsproductions.bandcamp.com/

Links

Bandcamp: https://paganaltarofficial.bandcamp.com/album/the-story-of-pagan-altar

Facebook: https://www.facebook.com/paganaltarofficial

Site:http://www.janinareinhard.de/PaganAltar/