It is one of the greatest injustices in the history of our favourite music that PAGAN ALTAR is not a huge name, like several of their NWOBHM contemporaries. It is really inexplicable and unforgivable, because, in my opinion, we are talking for THE BEST NWoBHM band, and one of the best ever in the history of heavy metal. I can already hear some of you thinking “that’s an extremely bold statement!”. Maybe so, but that is my honest opinion, and frankly, I strongly believe the only think that PAGAN ALTAR lacked compared to those of their British contemporaries who achieved huge star status is a contract with a major label, in fact a contract with any label. Trying to cover PAGAN ALTAR’s history would require many pages, and additionally this is not the purpose of this review. However, those interested are strongly advised to visit the band’s official website http://www.paganaltar.com and read Ivor Harper’s excellent on-line version of the “Pagan Altar - Behind The Cloak” biography, where the band’s history is covered in every detail.

Today, towards the end of 2004, after some 24 years of existence, PAGAN ALTAR release their second (!!!) full length album entitled “Lords of Hypocrisy” comprising of new recordings of songs originally written between 1980-83, but never officially released before. I guess by that point those of you that are familiar with the band, owning their debut album entitled “Vol.1” or the recently released “The Time Lord” EP (a vinyl only edition comprising of vintage recordings, released earlier this year in a limited edition of 500 copies by I Hate Records) have already stopped reading this review and are running to get a copy (visit the “links” page on the band’s website for a list of distributors and mail orders). For those already familiar with PA let me just say that “Lords of Hypocrisy” is an equal masterpiece to “Vol.1”; enough said. For the rest, I feel I should attempt to describe the PAGAN ALTAR phenomenon and their new album.

Well, this is a difficult task indeed, but I’ll give it a shot. You see PAGAN ALTAR sound like no one else, and no one else sounds like PAGAN ALTAR. This is something very few bands can claim or take pride in. PAGAN ALTAR is unique in every aspect. Once I read somewhere their sound being described as “doom drenched NWoBHM”, and I think this is as good as a three word description could get, provided that an emphasis on the word “heavy” is given. But this only serves as a classification label, it doesn’t give you an idea of the band’s magnificence. Two of the key elements of their sound are Alan Jones’ amazing guitar work, whether we are talking about divine heavy riffing or astonishing lead breaks, and Terry Jones’ awesome and unique voice. Terry Jones sounds like a combination of a more hoarse Bon Scott and a more nasal Biff Byford. Nah, not a good attempt to describe it, Terry’s voice is too unique, you have to listen for yourself to understand. The brilliance of his vocals does not lie in the very wide range or something similar, but rather on the uniqueness of his voice, his excellent timing, the impressive vocal lines, and, last but not least, in his soulful and passionate performances. Needless to say that as it is always the case in all unique and unusual voices, it is a love it or hate it situation. Obviously, I love it; in fact it is impossible for me to imagine PAGAN ALTAR’s music with any other voice, because it is so fitting and fundamental for the bands sound. A further characteristic of the band’s music is the structure of the songs. Everything is well thought of, nothing seems out of place or left to chance, every little detail or rhythm change has a role that contributes to the final completeness of their compositions. Next to the core of Alan and Terry Jones, who sign all compositions, the four-piece is completed by a marvellous rhythm section; Trevor Portch on the bass and Mark Elliot behind the drum kit, both of them doing an outstanding job and keeping up to the high demands that the band’s sound and the structure of the compositions impose. A special mention must be made to guest vocalist Val Watson, who is responsible for the delicate female backing vocals in parts of several album songs, as these prove crucial in creating the right atmosphere.

Well, I think it is about time I start talking about the actual songs of “Lords of Hypocrisy”. I’ll avoid a very detailed track-by-track review, because the review’s length will grow dramatically, and I want people to actually read it. “Lords of Hypocrisy” comprises of 9 compositions; 8 proper songs and a short instrumental one. The album kicks off with the sounds of a church organ and a female voice chanting in Latin, until Terry’s voice comes in and shortly after Alan blasts us with an awe-inspiring riff. The song in question is the title track, its lyrics criticising the phenomenon of the various preachers, evangelists, miracle men and other religion-related deceivers. An excellent choice for an opener, as really from here on there is no return. The music takes complete control of the listener, it grabs him by the neck and slams him into the wall. From that point on the curtain is dropped, a continuous succession of masterpiece songs follows.

“Satan’s Henchmen” is an excellent example of primordial heaviness (you can download an mp3 of this song from the band’s official site, although I should warn the unfamiliar with the band that despite being a truly great song it is not a characteristic example of the band’s sound).

Next comes “The Sentinels of Hate”, a true lesson in astonishing riffing, marvellous guitar leads, accompanied by a dark epic feeling; it could be a definition of inspired genuine Heavy Metal. Truly amazing!

The following three songs “Armageddon”, “The Interlude”, and “The Aftermath” have a common theme, as you may already have guessed by the titles. Although it is quite a task to pick highlights from an album as perfect as this, to this reviewer’s ears this “trilogy” is the album’s pinnacle. I’ve been spinning this album for more than six weeks prior to writing this review, and still my spine shivers and my jaw drops each time I listen to these three songs, despite having listened to live versions of two of those hundreds of times from a promo CDR released in 1999. This is simply a work of genius. Excuse me but I cannot find words strong enough to describe all the splendour and grandeur, or the plethora of intense emotions that parade in this trilogy; you’ve got to listen for yourselves to understand, this is as good as heavy metal gets!

Wisely, PAGAN ALTAR have chosen this point to place the more melodic and relatively calmer “The Masquerade”, such as to give the listener a time to recover from his daze and ponder inspired by the though-provoking lyrics of the song, while its extensive leads provide the perfect background. All in all, another exceptional composition.

The amusing short instrumental, titled “The Devil Came Down to Brockley” that follows might at first sound surprising and out of place and style to the album’s feeling (being obviously a spoof of Charlie Daniels’ “The Devil Went Down to Georgia”), but like everything regarding PAGAN ALTAR, you soon realise that there is a reason for its inclusion and positioning. It serves as an excellent short break through which the listener is emotionally discharged and prepare himself for what is about to follow. I am referring to the closer, “March of the Dead”. A distant marching drum sound intensifies like an approaching army, impressive short guitar leads prepare the ground and as soon the arresting massive riff of the song comes in you’re completely overwhelmed by the music, which combined with the lyrics transfers you to other unearthly worlds.

And that’s it, you’ve reached the end of this album. It is then that for a couple of minutes you stand still and think of what you’ve just experienced, before the irresistible urge to listen to the album again forces you to press the play button again… and again!

Summarising, this is a release I cannot praise enough, and really I want to express my gratitude to the band for finally recording and releasing this album. I can only hope that it will not be very long before the next release, the “Mythical and Magical” album, follows. Simply put, to this reviewer, “Lords of Hypocrisy” is along with PENTAGRAM’s “Show ‘Em How” my picks for album of the year (although these two are very different indeed albums), and certainly the best pure Heavy Metal release of 2004. This is an album we will be referring to in the future in the same way we today refer to classic albums like WITCHFINDER GENERAL’s “Death Penalty”. After all, the fact that songs originally composed more than 20 years ago sound so fresh, powerful, original, and inspired today is proof of the diachronism that characterises the classic masterpieces of our favourite music genre. This is Heavy Metal in its purest, most ingenious, honest, authentic, and inspired form. Need I say more? Rating:6/6