Professional ratings
Review scores
Source	Rating
AllMusic.com
About.com
CCM Magazine
Classic Rock	6/10
Decibel	7/10
Exclaim!	6/10
HM
Indie Vision Music
Jesus Freak Hideout
New Release Tuesday
The Phantom Tollbooth

No More Hell to Pay is the fifteenth release and tenth studio album from Christian glam metal band Stryper, produced by band frontman Michael Sweet and released on November 5, 2013 by Frontiers Records. The album garnered positive critical reception from music critics as well as commercial success.

No More Hell to Pay follows up the band's earlier 2013 release, Second Coming, on which the band performed new renditions of many of its old songs. Front-man Michael Sweet produced No More Hell to Pay and wrote eleven of the twelve tracks. In an interview with MetalExiles, Sweet stated that in writing the album, the band tried for a heavier sound reminiscent of Iron Maiden, Judas Priest, and Van Halen.

The classic sound on No More Hell to Pay is similar to the band's sound from its peak in the 1980s, but features a new maturity and grittiness. At CCM Magazine, Andy Argyrakis described the album as equal parts aggressive and melodic with massive guitar solos and layered harmonies, and noted that it intentionally references the band's early days without sounding dated. Lee Brown of Indie Vision Music likewise wrote that the album could easily have been released during the band's heyday in the late 1980s and early 1990s, and remarked that it has the high, falsetto vocals, riffing guitars, and bold, faith-centered lyrics which fans would expect. Bert Saraco of The Phantom Tollbooth highlighted that the group continues "the Stryper tradition: not so big on the subtleties, heavy enough to rock you, hooky enough to get under your skin", and that it combines elements of pop, metal, and arena-rock. Greg Pratt of Exclaim! praised the drum work on the album, particularly the hi-hat and bass drum. At About.com, Chad Bowar noted how the album was "mostly mid-tempo and jam packed with hooks." Ian Webber of Cross Rhythms wrote that the overabundance of yelling that Stryper was known for was still present on the album.

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