Iron Maiden – "Senjutsu"
After six years, Britain's finest reclaim their rightful title
Alright, one reservation up front. Maiden was my introduction to heavy metal. The very band that got me into the very genre. At the time of this, their seventeenth studio album hitting the streets, I've been a fan for more than 28 years. So y'all get to play the bias card here – if the need should arise.
However, I hope we can at least all agree on some facts. Such as the fact that Maiden have been putting out more albums than most other premier league metal bands in the 21st century. And the fact that they've sold as many records since their comeback as they did in their heyday – with virtually zero airplay either now or then.
Or the fact that creatively, whether one likes the results or not, the band keeps on challenging and stretching themselves beyond their comfort zone. And the fact that the global community of metal journalists agree on a virtually unanimous basis that Maiden keep on releasing heavy metal of the highest quality possible.
Creatively, whether one likes the results or not, Iron Maiden keeps on challenging and stretching themselves beyond their comfort zone.
While 2015's, "The Book of Souls", was an overall creatively successful effort, the double album format was still a bit too big of a mouthful even for Britain's finest. Its base level was solid, but the noteworthy peaks were few and a bit far between, and some songs could have easily been scrapped.
With "Senjutsu", however, Maiden finally manage to keep the promise of its predecessor.
On disc 1, each song follows in the perfect complementary sequence of the previous one. The opening +8:00 minute title track is perfectly mesmerizing in all its slow, epic solemnity. The classic, straightforward-galloping "Stratego" kicks everything into gear out of left field. Lead single "The Writing on the Wall" introduces a dusty, dragging country element which, with every new listen, turns out to work better and better in the band's favor.
The same is true of virtually every sonic experiment on "Senjutsu". The long, patiently ambient intro to "Lost in a Lost World" is the most stripped-down music Maiden has ever done, and as a result, it's all the more hypnotic – and the meticulous build-up and climax all the more intense. In yet another stark contrast, the classic Dickinson-rocker "Days of Future Past" is by far the album's freshest, and shortest, breath of air, clocking in at just +4:00 – as just one of three songs out of ten below 7:00.
"The Time Machine" showcases Janick Gers as the band's equivalent to George Harrison: A songwriter as undeniably talented as he's under-appreciated.
"The Time Machine" is a remarkable standout track on an album consisting of standout tracks. The syncopated feel is unlike anything Nicko has ever played, and, along with the perfectly placed doric tonal variations, the song's unique personality only showcases Janick Gers as the band's equivalent to George Harrison: A songwriter as undeniably talented as he's under-appreciated.
Opening disc 2 with Dickinson's comparatively low-key Churchill hymn "The Darkest Hour" is a move as gutsy as it's effective. Especially considering the fact that the rest of the album is three +10:00 minute Harris-epics – which could count as one minor complaint. Much more critical, however, is Nicko steadily speeding up midway during the otherwise wonderfully executed "Death of the Celts".
Having seen the band several times since Dickinson rejoined, I've witnessed the lovable drummer slowly becoming more and more loose; it goes for albums as well as live. Also the eerily apocalyptic "The Parchment" prevails despite more of the same happening toward the end.
Sticking with the objections for a bit, there's something to be said about everyone's favorite heavy metal vocalist. The biggest problem isn't on his part, mind you; it's the fact that his tracks are a bit too low in the mix for some reason.
As much as Judas Priest's 2018 comeback "Firepower" was arguably a triumphant return to form, "Senjutsu" is Maiden's best album since THEIR comeback 21 years ago.
Having survived throat cancer and long turned 60, Dickinson, of course, can't very well be expected to deliver like he did 35 years ago. And he doesn't – but that's okay. All else being equal, Bruce Almighty does a damn fine job of wailing his guts out in hooks and choruses as catchy as we could ever expect from Maiden. And perhaps wanting to save energy on the end notes, he even turns this to his advantage in experimenting with some borderline-jazzy phrases here and there, which only fits the sound of a band that is, on the whole, maturing like a fine cask-strength Islay.
The concluding "Hell on Earth" is yet another standout-among-standouts. Even at an industrious +11:00, the hymn factor is soaring beyond the stratosphere. Believe me, I WANT to sound less like a fanboy here, but it's impossible. As much as Judas Priest's 2018 comeback "Firepower" was arguably a triumphant return to form, "Senjutsu" is Maiden's best album since THEIR comeback 21 years ago. And Maiden have hereby reclaimed the title of Greatest Heavy Metal Band in the World.
... That is, if it had ever been taken away from them in the first place.
Rating: 5.5 out of 6
Genre: Heavy metal
Release date: 3/9/2021
Label: Parlophone / BMG
Producer: Kevin Shirley