"Hear the mandrake scream", anyone?

(Guest reviewer: Magnus Jørgensen)

I fucking love Bruce's solo records. The defiant hard rock of "Tattooed Millionaire" ('90), the pure heavy metal of "Accident of Birth" ('97), and, rising above it all, the stupendous beast that is "The Chemical Wedding" ('98). If that one had been a Maiden album, it would have cracked my top five. I even kinda like the maligned "Skunkworks" ('95).

It's been 19 years since the last solo album from Bruce, and he's been talking about this one for at least 10 years. The pandemic, his fight against cancer (won K.O.), and his commitments to Maiden delayed it for ages, but it's finally here. Long-time guitarist and songwriting partner Roy Z is on board, Bruce's voice has improved since the illness nearly canc(er)elled it, and they have had years to refine the songs.

Still, I didn't expect much from "The Mandrake Project". The title is silly, the concept seems pretentious, the promo photos even more so, and the idea of accompanying comic books... well, we'll get to that.

The album kicks off with the mid-paced, down-tuned "Afterglow of Ragnarok". Like the last three Bruce records, it's way heavier than Maiden. The guitars and drums punch through while leaving lots of room for the bass. But though it's well-written, it's more of an afterglow than it is the fires of the dying gods and giants.

Maybe it's too slow, maybe it lacks character, maybe it's because the chorus shouts of "Afterglow! Afterglow! Afterglow of Ragnarok" seem half-hearted. The following "Many Doors to Hell" could've been straight off "Tyranny of Souls" ('05). There's a great, melodic main riff and a wonderful pre-chorus, but once again there's no real climax to the build-up.

Though far from fizzling out, the first two tracks don't really ignite. But we don't need fire, because there's "Rain on the Graves". (That one was a bit far-fetched, but I'll allow it. – Ed.) Bruce tells his story on top of a one-note bass backing before bursting into a chorus that bleeds pain and despair. Outrageous vocals; keyboard choirs galore; Roy Z's sparkling solo echoes the theme of the chorus, and Bruce does that cackle of his. This is brilliant.

Bruce, as always, doesn't just tread water – he throws himself into the sea.

"Resurrection Men" features a charming, open-chord Dick Dale-like opening, the twangy guitar theme sounding straight out of a song by Danish kings of rock, D-A-D (the praise of whom our global metal doctor has given a few times). It's a peculiar mix of a galloping, storytelling song, a progressive rocker, and a heavy metal blast. They're toying around with crazy changes of pace, feeling, and instrumentation – Bruce plays the bongos, and I hear that he's been bringing out a goddamn theremin for the live shows. This song puzzles me, and it shouldn't work, but it does. And what Roy Z has done behind those computer screens, amplifiers, and microphones is impressive.

Rounding out the first two-thirds of the album is the catchy "Fingers in the Wounds" which features a tacky, but irresistible keyboard-driven, faux-Middle-Western counter piece, and "Mistress of Mercy", a frenetic rocker with a monstrous main riff. It reminds me of "Freak", the opener of "Accident of Birth" – a kick-ass song that just lacks that killer chorus.

And then there's "Eternity Has Failed", the song that Steve Harris wanted as an opener for Maiden's "The Book of Souls" ('15). The Maiden version is great, but in this original version, it has a different swagger. The massive sound, the slower pace, and the placement of the song in the middle of the record take it to greater heights. It drags across the floor before exploding into a chorus so intense that you'll never want to hear the Maiden version again (of course you do, but I'm getting excited here). With the way that chorus kicks in, you'd have to hate rock music to not let yourself go.

The first two-thirds of "The Mandrake Project" were written more than ten years ago. The final third was written right before the album was recorded, and it shows. The album changes character as Bruce enters the "theatre of the mind", as it were – his ambition of a musical experience that really takes you there. Close your eyes, and "Aces High" will bring you into the cockpit of a World War 2 fighter. Open your eyes, and the bodies, smoke, and barbed wire covering the stage will bring you to Paschendale. I have no idea if he's going to try to bring "The Mandrake Project" to the stage, but the comic series shows the ambition. This third act is so outrageously self-indulgent, so dedicated to the pathetically grandiose. But before we go there, I'm gonna go off on a tangent about what bugs me about this project.

Lyrics matter. Themes matter. Saying "the lyrics don't matter to me" is ignorant at best, because even if you don't delve into the lyrics of an album, they still matter. Pantera's lyrical qualities aside, if Anselmo had been promoting human rights and feminism, it just wouldn't have been the same songs. The right lyrics elevate songs and albums from great to phenomenal.

Bruce says that the story of "The Mandrake Project" is important to understanding the album. It's intended as a musical backdrop for the story he's also telling in the complemental "adult, graphic, serialized short stories". The lyrics and themes of the album make absolutely no sense on their own. And as we explore the epic, dramatic conclusion to the album, we have no fucking idea why we should care about the Ice Queen, because she's never been mentioned before.

"The Mandrake Project" is an exciting album, but I can't help but think that it could have been a great album if it was allowed to live by itself.

The idea of "The Mandrake Project" is to combine different media and forms of artistic expression to create an experience that enhances a rock album. The idea of combining fairytales, theatre, adult comics, and rock music won't shatter the earth, but any venture into breaking new ground for rock music and, well, the "theatre of the mind" is more than welcome. And Bruce, as always, doesn't just tread water – he throws himself into the sea.

On "The Chemical Wedding", Bruce interpreted the works of William Blake and touched on life, death, Christianity, and the human condition. The songs made sense by themselves and were united by common themes, language, and imagery. This time around, nothing makes sense unless you read (and pay for) the comics and whatever supplementary stuff they published. I hate everything about this. A rock album should stand on its own, and I detest the idea that if you want the full experience, you need to buy and apply the themed buttplug as well.

Anyway, if that whole detour bored you, wait till you hear the ballad that sets up the final two songs, "Face in the Mirror". Well, most bands would kill to write and record a ballad like this. But it's still spectacularly unexciting. The duo who wrote such tear-inducing ballads as "Arc of Space", "Man of Sorrows" and fucking "Tears of the Dragon" shouldn't leave us with this transitional song.

Finally, the epic ending songs, "Shadow of the Gods" and "Sonata (Immortal Beloved)". 18 minutes. Everything converges here as the story reaches its tragic ending. Pianos and heavy riffing set the stage as the main characters howl in desperate pain and despair. If I knew who the hell these characters are, what the story is about, and why the ending is so dramatic, I'd be along for the ride. But this is like drunkenly stumbling into a theatre (of the mind, heeey!) and listening to Lear's soliloquy while he cries over Cordelia's body. We hear the intensity, but we can't feel or understand it.

I can't find anything bad to say about these final songs – in fact, they're pretty damn good. But if you're doing a concept album and building towards a grand finale, you need an explosion of the dramatic. The sadness, regret, and torment are palpable, but in the end, even the repeated, tormented begging of "save me now" doesn't ring true. Because while we know that it's about something, the album doesn't tell us what.

The reason I'm frustrated is that "The Mandrake Project" is an exciting album, but I can't help but think that it could have been a great album if it was allowed to live by itself. There are many qualities here, and repeated listens make the merits of certain songs evident. To me, this is a missed opportunity to create a final, great solo album. But hey, this is Bruce, and I wouldn't be surprised if there's another album or two coming.

Rating: 4 out of 6

Genre: Heavy metal / hard rock
Release date: 1/3/2024
Label: BMG
Producer: Roy Z