Member:
Sean
(Profile)
(All Album Reviews by Sean)
Date:
9/11/2003
Format:
CD (Album)
I have a couple confessions to make. In my teens I was a huge Iron Maiden fan. In fact they were my favorite band for awhile. Seems their brand of epic metal kitsch was aimed right at my age group at the time, 13-21, roughly (I was about 15). I also must admit that after 1991 or so, I lost interest. In metal and in Iron Maiden as well. Seemed they had pretty much blown their compositional wad by then and were just spinning their metallic wheels.
I have heard each of the albums that came since then, just out of curiosity and each sounded weaker than the last. For me the beginning of the end for me and Maiden was when they started to write commerical tracks. "Heaven Can Wait" from Somewhere In Time was probably the first one I really took issue with. It seemed out of place compared to the rest of the album and a blatant stab at some kind of airplay. On their next album Seventh Son of a Seventh Son they followed a similar formula and added a pop/metal nugget, "Can I Play With Madness?" to an otherwise non-commerical album that was actually their most progressive statement, aside from that song. By the time they released the next album, No Prayer For The Dying this pop vibe started to creep into many of the songs on the album. Same for the next one too, in equal measure.
I had a chance to hear the new album, Dance of Death this week, and I was a little curious as the buzz on the net had been fairly favorable. The one thing I noticed right off is there were no commercial tracks like the above mentioned dreck. This cd is probably the first one since Piece of Mind that dosen't sport some pop inspired turds. Now don't think that Dance of Death comes out smelling like a rose just yet though, it isn't that good.
Though it is solid. All the trademark Maiden compositional/sonic staples are here as usual- the walls of guitar harmonies (now with three guitars, which makes for a fatter overall sound in many spots), Bruce Dickenson's air raid siren shriek (which is in good shape here), several Steve Harris bass intros (mostly his fave root-fifth inspired riffs), hot to trot guitar solos, etc. And of course you get a couple 'epics'. "Paschendale" and the title track both clock in around ten minutes and provide the most of the meat of the album. Some other songs that seem pretty strong are "New Frontier", "Face in the Sand" and the Powerslave-era inspired "Montségur".
For Maiden fans this may be the album many have wanted for years. An album that forgoes the pop schlock and tries to be classic. The backing tracks of synths in spots recalls a 7th Son vibe. It would almost be safe to call this it's follow up- though it isn't quite as inspired or clever. Yeah, it's all been done before on other Maiden albums- maybe Dance of Familiarity would be a better title... It's funny...I hear promise in Dickenson's solo work, why can't he bring some of that vibe to Maiden? It all just seems like business as usual, like no new compositional ideas have come along since 1985. And what is up with the lame computer generated cover art? Where is Derek Riggs when they need him?
For me the ride on the Maiden fan wagon stopped at '91, and this cd isn't going to change that. But it is one that perked my ears up for a few when I realized it was actually solid. A first for them in many years. Prog fans won't twist, jump and shout over this album, of course. But fans of classic 'prog' METAL that is rooted in a pre mid 80s sound, not the scooped chunk of Metallica inspired prog bands like Dream Theater etc, will find much here that is enjoyable, if not a bit quaint.
Member:
Constable Hogweed
(Profile)
(All Album Reviews by Constable Hogweed)
Date:
9/29/2003
Format:
CD (Album)
Maiden are back believe me! Dance of Death displays all that Maiden are loved for...stomping rock, melody, and that unmistakable sound that owes the old Maiden tip of the hat to Wishbone Ash and Jethro Tull. Without going into individual tracks this album is everything that the Maiden comeback (with Bruce) wasn’t. While the 2000 release Brave New World was palatable it showed the signs of a band who were a bit edgy as to what they should do with a shitload on their shoulders as to being the flag bearers for classic metal in a time that gave us such nonsense such as Slipknot and the ilk. As a result, the last album sounded forced.
In 2003 and the pressure off with classic rock making a comeback (of sorts) Maiden are freed from any such chains and in loosening up have tightened up....yup, I know it sounds contradictive but nevertheless is true. The compositions on this album are strong and well crafted with the 3 amigo guitarists being given plenty of room to shine in blistering solos and more restrained moments which bring to mind as Sean as already said the classic Seventh Son of a Seventh Son album. This is the most consistent album since that aforementioned SSOASS album and only goes to show that class is permanent. Maiden may not be to everyone’s taste but for me this is the album that displays true musicianship and songwriting strength. Welcome back Iron Maiden, where have you been for all these years?
Constable Napweed
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