Review 4

My metal teeth were cut on the NWOBHM. For those of you who don't know, that stands for "New Wave of British Heavy Metal," which started back in the late 70's/early 80's. I'm no metal scholar when it comes to it, but I will say that when someone refers to something from "back in the day" this is the era that immediately comes to my mind. Iron Maiden, Judas Priest, Saxon, Angel Witch, Tygers of Pan Tang . . . hell, even Def Leppard were considered part of this movement, back before they floored their vehicle straight into the shitter.

Another band is the mighty Pagan Altar, considered by many to be one of the very best of the era. This is a band that has traveled a long road to releasing their follow-up to the acclaimed debut, "Volume One." Yes, for all their legendary status, 2004's "Lords of Hypocrisy" is only their second album in some 24 years. The path they have followed to get here is a long and twisted one, and is well documented in Ivor Harper’s excellent on-line version of the “Pagan Altar - Behind The Cloak” biography, where the band’s history is revealed in meticulous detail. Suffice to say most bands would not have survived what these metal heads have come through; it is a true testament to commitment and perseverance that Pagan Altar has emerged to release this album at all.

And what an album! Consisting entirely of songs originally written between 1980 - 1983, but never officially released before, "Lords of Hypocrisy" is a tour de force of what heavy metal is supposed to sound like. This isn't a cookie cutter, blast beat-infested rage fest, so ubiquitous in the modern metal era; no, this is Music. This is heavy metal as an art form. Like other great bands that came before them -- Led Zeppelin, Black Sabbath -- Pagan Altar crafts music that is as much an exercise in heaviness as it is a natural progression of folk music, with similarities in delivery and the down-home familiarity of excellent storytelling. These aren't 3 minute rock songs, these are carefully crafted epics (with the exception of "Satan's Henchman," which is, indeed, 3 minutes long!). In particular, the track "Armageddon" represents everything that heavy metal is about; emotive lyrics, thunderous riffing, and varying tempos that keep the listener at the edge of their chair for the entire 10 minutes of the song. Magnificent! The rhythm section of Trevor Portch (Bass) and Mark Elliott (drums) is a massive foundation for the axe work of guitarist Alan Jones, whose licks and dual leads throughout create a musical statement that truly sets Pagan Altar apart from so many other metal wannabes.

This band may not be for everyone, however, for one potential reason: the vocals of Terry Jones. The man writes great lyrics, and sings with all the emotion you could ask for in a singer, particularly in such an epic format. His voice, though, is as unique as you will ever hear, and for those who don't give themselves the time to adjust to it, they are truly missing out. The only comparison I can make is with Jethro Tull's Ian Anderson; Terry has a similar throaty and unique sound. I raised my eyebrows at first, but after a few listens I could not imagine any other voice with the music of Pagan Altar. It is as much an instrument as the guitar, or the church organ that starts things off as the album begins. Yes, there are interludes with different instrumentation, and some wonderful female background vocals in sections, all of which lends drama to the listening experience, but, at the same time, it is a raw and stripped down production. The record sounds like it was recorded in the 80s, on dusty old analog tape and technology that required musicians be musicians, not get-it-right-once-and-we'll-cut-and-paste-it-throughout hacks!

I can't recommend this album enough. If you are interested in the whole NWOBHM phenomena, or simply interested in some of the best music that a veteran metal band can offer, this is for you. For a look at a truly unique and seminal heavy metal band, pick up "Lords of Hypocrisy.