Review: Pagan Altar – Never Quite Dead (2025)
There is a distinct stillness surrounding Never Quite Dead, Pagan Altar’s new album. Terry Jones may no longer be present, but his voice and shrieks remain woven into each riff and careful progression. This is not a conventional posthumous release. The music feels intentional and complete, mostly built from material written before his passing and shaped with commitment.
The title Never Quite Dead carries a trace of dark humor, in a fancy Monty Python style. While it may sound tongue-in-cheek at first, in Pagan Altar‘s case it also becomes a clear statement: the band did not disappear, it remained silent for a time. The songs collected here come from some work Jones left behind before his death in 2015, and the result is neither a comeback nor a revival. For now, it is a continuation of what the band had always done.
“Saints and Sinners” introduces the album with a strong sense of direction. The track has weight without becoming excessive. Brendan Radigan takes on the vocals with discipline. He doesn’t copy Terry’s delivery. His approach feels self-assured and well-placed, while each phrase is handled with care.
Radigan adds a dramatic element to the music. His higher register gives the songs a sharper edge without overwhelming the slower arrangements. Listeners familiar with his work in Magic Circle or Savage Oath will definitely recognize the balance, less so Torture Chain (note to self: we will discuss this one some other time…). His voice adds contrast and clarity, especially in the album’s more somber moments.
“Liston Church” drops the pace. The guitars move slowly, allowing space between phrases. The track is dense and controlled. There are no unnecessary shifts or flourishes, as the song stays grounded from start to finish. “Madame M’Rachel” is divided into two distinct parts. The first section stays subdued, focused on tone and restraint. The second introduces more momentum and depth. The transition is handled carefully, with each half supporting the other.
“Well of Despair” stands out as one of the strongest pieces on the album. The structure remains steady throughout, with a consistent melodic line supported by the trademark thick guitar work of Alan Jones. This is doom metal presented with clarity and seriousness. “Kismet” closes the record with the grandeur only to be expected from a band like Pagan Altar. Long, melancholic, mythic. Magical.
Never Quite Dead does not aim to reinvent Pagan Altar. The album carries the weight of loss at its center but holds itself together without collapse. The focus remains on atmosphere, structure, intent, and, well – great vocals that speak with clarity and confidence. All in all, Never Quite Dead steers clear of tribute-style sentimentality, which, fittingly, is exactly what the title hints at. So, did Pagan Altar just sell us a dead parrot? Not quite, my friends… not quite.
