The Room of Shadows

For those who don't care to get into history and deeper analysis, this is a folky, NWOBHM / doom metal crossover album from veterans of the style. It's basically the most faithful metal rendition of english folk music spirit. The Room of Shadows is loaded with melody, crunchy riffs, blazing solos, catchy vocal lines, and the atmosphere of spooky folk tales. This album is your grandfather telling you ghost stories by the campfire in metal form.

Now, on to the real review.

When I heard the news of Terry Jones' death, I wasn't sure this record would ever be released. After a year or two of silence, I grew certain that It would never see the light of day. Thanks to Alan Jones, Terry's son and guitarist of the band, I was wrong. Despite the album being finished and then scrapped before Terry's death, Alan managed to pull together what they had recorded, add to it, and release the full album they had planned.

Here it is, at long last, the swansong. The Room of Shadows. How does it hold up?

There are a lot of notable things about this album straight out the gate. The production is much different than past efforts. Much clearer. In fact, that was one of the highlights of this for me. It was a gift to hear Terry's voice with such clarity.

Another difference between this and past efforts is the pace. It's noticeably more restrained. This is maybe the first Pagan Altar record that actually feels like a doom metal record rather than a folky NWOBHM record. The opener, in particular, is very somber. That's not to say the rest of the sound was lost. The folk and NWOBHM aspects are still here in full force.

If you know Pagan Altar, there's a couple things you expect. Riffs that are somehow equal parts doom, NWOBHM, folk, and classic rock. Electrifying guitar solos. Vocal lines that are incredibly somber, yet somehow majestic. That folky atmosphere that brings to mind old ghost stories and the elegance of classic horror. All of it's here.

As with any Pagan Altar record, there are just no shortage of great guitar lines. If you love the golden age of guitar, there's no way you can avoid loving Alan Jones. The man is simply a fucking wizard on the axe. He's the Ronnie James Dio of guitar. Terry's dusty, folky vocal delivery is as enchanting as always. The lyrics are pure poetry.

Are there negatives? Not for me. Are there some big changes that might scare off old fans. Yes. The change in production is very noticeable. The old records all had this dusty, sort of lo-fi sound to them and I definitely preferred that approach. This album is much less energetic than any of the older records. Terry's vocal performance, in particular sounds much more reserved. Then again, this may be a result of the production style.

With all that out of the way, it's simply a great record. It's not THE BEST Pagan Altar record, but that record was released a long time ago and could probably never be topped. The important thing is that this is a very worthy addition to the band's discography and the somber tone of the thing serves it well as a swansong. Old fans who aren't allergic to any kind of change will find a lot to enjoy in the Room of Shadows. I know I sure did.

Rest in peace, Terry Jones. You've earned it.

Along with Black Sabbath and Pentagram, Pagan Altar constitutes one of my most memorable and eye-opening doom metal discoveries - although to be sure, the British under dogs also ascribe to NWOBHM tendencies in a similar vein as Witchfinder General. Its lyrical themes are mainly occult related while the musicianship is heavily blues based and highly melodic, as attested by Alan Jones' signature, superbly phrased chops. Much like Sabbath largely owes its sound to Tony Iommi's evil pinkie tremolo, or modern day Pentagram is instantly recognizable by Victor Griffin's diabolical warble, Pagan Altar's folk harmonies and colorful, soul-edifying solos raise it to a level far beyond your every day market peddler. That said, front man Terry Jones' hillbilly-ish but oh-so-panoramic vocal style isn't for everyone; in fact, it's definitely an acquired taste, in a similar vein as Rush's Geddy Lee, for example. (As well, I can tell you from personal experience staunch Christians may be thrown off by the band's relatively harmless moniker i.e. "Don't Pagans' sacrifice children?!" [insert disdainful gasp here!]).

Quirk aside, the quartet's latest - and most likely final release in light of Jones' passing in 2015 -, Room of Shadows (limited to a 1000 copies only) was distributed post-humously last August under Temple of Mystery Records and features seven poignant tracks more or less in line with past underrated gems such as Lords of Hypocrisy, Judgement of the Dead and Mythical And Magical, which, while recorded in the 70s through the 90s, were belatedly released in the mid 2000s. A nine minute opener in "Rising of the Dead" slowly but surely segues into the Altar's classic sound, rounded off by Diccon Harper (also part of the British/American Lucifer) on bass and Andy Green on drums. Shortly past the mid-point, the lead guitar duly takes off as the song picks up in pace, highlighted as it by Jones's ever-tremulous, atmospheric voice. One thing about Pagan Altar, the leads readily build upon themselves to the backdrop of a conservative but innocuously catchy rhythm section. The following track, "The Portrait of Dorian Gray" (not the tea!) is easily a top highlight thanks to its cosily driven backing riff and sweet, ear-worm opening guitar lines, with Jones' waxing wistful and eloquent for the track's duration. Assuredly, the lyrics are of the chthonic kind - a further cause for concern if you're overtly religious and fail to glean their hortative slant, equally prevalent with the aforementioned bands.

Instrumentally, the album as a whole may not be as dark and fierce as past worthies, as demonstrated by the radio-friendly "Danse Macabre" which cleanly rolls along in a rather anodyne manner before breaking out into a kick-ass, albeit mimicking, guitar riff one may recall as from the iconic "Carry On Wayward Son" by Kansas! It fits in so smoothly, and the lead which follows is so well woven, that I consider it a swell homage to said classic rockers. "Dance of the Vampires" (what's with the jigs?!), for its part, cuts straight to the chase with potent leads and a more characteristic and gloomy foreboding. Actually, this song represents a prime showcasing of Alan's commendable guitar skills, while the title track and ten minute ode "The Ripper" adhere to the same gradual rise as "Rising of the Dead", before taking flight in all their mellifluous glory. The one and a half-minute closer, "After Forever", evocatively winds 'er down with angelic, harp-like guitar plucks and Jones' conclusive croons. Credit is also due to Harper and Green for providing consistent support throughout while maintaining a respectful distance; appropriately so, as I've always considered Pagan Altar a guitar band first and foremost.

If you're new to this legendary act, I suggest scoping out its early fare, which stands in a class of its own with killer cuts such as "The Black Mass", "The Cry of the Banshee" or "Satan's Henchmen", for instance. Alternatively, long-time fans will surely find solace in Terry Jones' crowning achievement, The Room of Shadows.

May he dearly rest in peace.

This album was a disappointment - not a big one, but one none-the-less. I can't stay mad at Pagan Altar for this effort because one just needs to go into their amazing catalog and be reminded again what a phenomenal band they are (or were). The comparison with Black Sabbath is unfair; the sound Pagan Altar created was completely their own - a mix of doom and folk with NWOBHM influences. Just like you wouldn't compare Angelwitch or Witchfinder General with Black Sabbath, neither should you do the same with the monoliths that are Pagan Altar.

This time around, Terry Jones delivers a monotonous, repetitive tone to most of these songs; almost all use the same verse melody structure. I wouldn't call them much songs, as they come-off as "poems" put to music. His lyrics are cool, with satanic and haunting imagery, but they are overshadowed by the weak song-craftsmanship. I couldn't get to that euphoric place where I'm singing along with the songs - they're just so unmemorable.

Alan's amazing guitar-work is still there though; still playing harmonious solo melodies mingled within Terry's verses. Just like the lyrics, I'm sad to say, Alan's solos don't make an impression. I recall all the amazing songs these guys put-out where you can't help but sing along - with a thunderous backing of sound to take you to orgasmic headbanging. Both "Volume 1" and "Mythical and Magical" are masterpieces of metal, not just doom metal, but metal in general. Every song on those albums are works of art, and ooze inspiration with song-crafting creativity. I cannot bring myself to say those same things about the songs from "The Room of Shadows". The best song one this album is unquestionably "The Portrait of Dorian Gray". It's probably the only good song too, and that's a very sad thing to write and say. With the knowledge of what this legendary band can do, you'll find yourself waiting for each of these new songs to be over, as I was. But that's ok, really - you have a shitload of amazing material to groove-to out there. Pagan Altar will always be one of my favorite bands. Isn't that saying something when they release garbage?

This is technically Pagan Altar’s “weakest” album, and I’m still giving it a score in the high 80s. I think if their previous two albums hadn’t existed this would be pretty much perfect - as is, it comes off as a slightly more subdued work than the stupendous Mythical & Magical, without the same quality of songwriting or same energized guitar frenzies. But The Room Of Shadows, basically a memorial album after the passing of singer Terry Jones, is a special work on its own merit.

Opener “Rising Of The Dead” is just about the most perfect recitation of old Sabbath I can think of - it strips away all the advances and progressions metal has made in the last 45 fucking years and goes back to the slow, primal chords and moaning, trembling vocal cadences that Ozzy Osbourne did back then. It’s gloriously retro in the best way, feeling more like a loving tribute to their influences, especially as Pagan Altar morph it into more complex guitar dialogs than Sabbath did back at that point in their career, turning it into a beast of a song by its climax.

That’s really how this opens - retro as fuck. They knew what their fans wanted and gave it to them - old-school guitar theatrics and lyrics spinning tales of horror and the occult, and that’s basically what the album is for the entirety of its run-time. No fat at all. “Portrait Of Dorian Gray” and “Danse Macabre” are infectiously catchy with memorable riffs and choruses, and the title song starts off as a mellow folk tune before morphing into some propulsive riffs and drum kicks that tend to remind me of early 80s Iron Maiden, when Bruce Dickinson first joined. These are simpler songs in a way than Pagan Altar is known for, without the elaborate writing of songs like “Armageddon” or “Dance Of The Druids,” but they do have more beneath the surface than it initially appears.

“The Ripper” is the oddball of the album, a 10 minute piece that unfolds as a sort of musical drama, with simple classic rock riffs pounding away in the background leaving Terry’s voice at its frailest - like he was on his deathbed recording this - at center stage. Lyrically it’s dense and jam-packed, raising questions about Jack the Ripper’s motivations in a well-written manner that comes off suitably haunting. It never gets too upbeat. It’s a well-paced song that takes its time to get where it wants to go. An odd closer, but one that fits the band’s cult, weird career pretty well. “After Forever,” the actual closer, is a short acoustic ditty with Terry crooning wistful lyrics, and it’s actually one of the standouts for how powerfully emotive it is. A beautiful little song.

This is pretty final as an ending for Pagan Altar - it obviously would never be the same without Terry’s distinct rich, nasal whine over-top the guitars. Maybe Alan and the other guys will do something else; I don’t know. I like this slightly less than The Lords Of Hypocrisy and Mythical & Magical, but one can’t deny the especially haunting resonance this music has now that Terry is gone, and the poignance of the album’s release after all this time. It’s a wonderful little piece of work and any fan will find things to enjoy. RIP, Terry. You were great.

In a time where so many bands want to sound retro, no old school portrayal is more accurate than that of Pagan Altar. This may primarily be due to the band having gotten its start in the NWOBHM era and for drawing most of their material from songs written at that time. But the British doom lords also have a distinctly hazy production and performance style that evokes the aesthetics of a bygone era, one dating back centuries that has faded into the mists of time until a ghostly Celtic aura is all that remains.

This is especially true for The Room of Shadows, which is not only the first Pagan Altar album to come out since 2006’s Mystical and Magical but also their final release due to the unfortunate passing of singer Terry Jones in 2015. It operates on the same tropes as the three full-lengths before it. The production is devoid of any modern influence, the guitars consist of fuzzy rhythms and classic rock leads, the lyrics are as macabre as ever, and Mr. Jones still has the jangly drawl of a Lovecraft Country bumpkin.

But while Pagan Altar’s brand of doom has always been mixed with folk, classic rock, and bits of traditional heavy metal, there’s definitely not as much of the latter compared to their other albums. With the exception of the upbeat “The Portrait of Dorian Gray” and the celebratory chorus of “Danse Macabre,” The Room of Shadows never ventures past a mid-tempo pace. “Dance of the Vampires” packs in a particularly heavy riff set but the album as a whole doesn’t feel any more oppressive or downtrodden than other efforts either.

Instead, the band’s folk side is more prominently highlighted. There aren’t any power ballads in the traditional sense but songs like “Danse Macabre” and the title track integrate acoustic segments into the material quite nicely and the vocals are clearer while still having that signature storyteller feel. In addition, “After Forever” is a minute and a half long closer with an oddly personal lyric and vocal performance that feels as if Terry Jones is delivering his own epitaph. I’m not sure if the band knew what was to come or if they were just listening to more Jethro Tull than usual, but it’s haunting all the same.

Pagan Altar’s albums have always felt like old-timey folk legends set to music so it isn’t too surprising to see their last one pay tribute to their fallen vocalist in such a subtle yet haunting fashion. The transition to a slower, more scaled down sound is natural and the songwriting keeps things tasteful without having to bowdlerize the ghoulish storytelling. It’s a shame that it took this long for The Room of Shadows to be completed but fans are sure to appreciate the band’s return, even if it is just to say goodbye.

Highlights:
“The Portrait of Dorian Gray”
“Danse Macabre”
“Dance of the Vampires”
“After Forever”

R.I.P. Terry Jones (August 24th, 1945 – May 15th, 2015)

Originally published at http://indymetalvault.com