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IRON MAIDEN
Senjutsu

Parlophone (2021)
Rating: 7/10

The overlong songs, that domineering clunky bass, those predictable history lessons, the softer passages that the brutally loyal fan base often refers to as “prog”, and a samurai sword wielding mascot Eddie still not matching those classic 80s designs. Yep, it’s another Iron Maiden album – the band’s 17th to be exact – and it’s another release sure to get the denim-clad fans frothing in their droves. After all, it has been six years since the bands last outing, The Boook Of Souls.

With a title loosely translating as “tactics and strategy”, Maiden’s new behemoth is presented as a triple vinyl / double compact disc package, and with a running time of over 80 years… I mean minutes!, it has been somewhat of an arduous task immersing oneself in the contents.

The surprise here is the lack of contribution song writing-wise from axeman Dave Murray, while the lack of surprise comes in the form of several cuts being the sole work of bass man Steve Harris.

Upon first listen, and many others after, the real positive is Nicko McBrain’s drumming. The guy is a real powerhouse with his own style and there’s many a time he rescues a few tracks from being just rock ‘n’ roll mediocrity.

Admittedly, Iron Maiden has been a stubborn beast for a long, long time, one happy to revel in its historical, if somewhat seemingly repetitive tales (‘Death Of The Celts’), while offering streaks of downright gloominess, amplified by the at times muddy production which bring Bruce Dickinson’s recognisable warbles down a level or too which suits the material.

Of course, there’s no better place to hear a three-way axe attack than on an Iron Maiden record. Messrs Murray, Gers and Smith duel throughout, while Harris’s ego-driven bass rumbles vie for attention which they get through muscular arrogance. It’s very much Maiden to the core, fleeting between nuances which made 2000’s Brave New World opus so combative and brooding.

And “brooding” is a fine word to describe such a release, because this is a record that offers more darker shades than light, with only lead-off single ‘The Writing’s On The Wall’ providing any real colour and diversion to some extent with that sleazy opening before the band edges itself into a comforting trudge. It’s mid-paced, safe Maiden with a catchy, bluesy hook, although at six-minutes it feels too long, and yet it’s one of the “shorter” tracks on offer.

The title track simmers and fizzes, and as it builds with suspense it remains somewhat defiant as Maiden double-up on their armour and bring extra beef to the battlefield. Again it’s steady in pace although lacking vim, but as a winding solo worms it’s McBrain’s percussion which soars to join forces with Dickinson’s battlecry. However, through its mid-tempo moodiness there’s nothing here that really hits you and by the five-minute mark I’m waning, bogged down and dragged along by that middle-of-the-road slugging.

‘Stratego’ though rattles with a bit more velocity and is one of my favourite tracks on the album, building nicely to a classy, dare I say it, archetypal Maiden chorus and a killer melody that digs into your ear canal and stays there for a long time.

Another favourite is ‘The Time Machine’. This seven-minute rocker opens with a stark, subtle wispiness where Dickinson wistfully serenades us for a minute or so before we get swept up in a brooding tide whereby the lyrics remain playful, hinting at the colossal theatrical leanings of The Who in the 70s. The track comes complete with a classic Maiden gallop just after the three-minute mark and charms us with some mesmeric soloing too.

Iron Maiden remains an unwavering force whereby secrets within their realm are few and far between, so in spite of mild experimentation Bruce Dickinson and co. never elevate themselves into kaleidoscopic stratospheres, and in a sense you kind of know what’s coming, where blazing solos duel with bubbling bass, and vocal soars fight their way out of the gloom.

Yeah, yeah, there are numerous instrumental expressions which seem pointless, created as if to pad out the lengthy tracks even further, and at times the sombreness can be a tad suffocating, such as with ‘The Parchment’ and ‘Lost In A Lost World’. However, there’s still that air of the epic and triumphant as ‘Darkest Hour’ rumbles from its cinematic opening and caresses us as a ‘Hallowed Be Thy Name’-type metallic ballad. Here Dickinson’s vocal strains exude a melancholic shadowing, but as the track comes together it remains a great clashing of swords with crafty axework and McBrain’s unflinching skin raps.

‘Days Of Future Past’ (what, only four-minutes guys!) features a glistening melody and punch, and is one of the most driven and steely of cuts that gets us dreaming again of those halcyon years when the Maiden cover artwork was as important as the music.

After another simmering beginning, album closer ‘Hell On Earth’ clanks at mid-paced tomfoolery but lacks pinch and power. This track does pretty much sum up one of the biggest flaws within the Maiden framework, and that’s repetition. Many parts of the album reek of familiarity, while numerous segments really do test the patience and I can’t imagine how these will work live. Although they may be ideal areas where fans might be looking for a toilet break!

Yes, Senjutsu is infected with clichés, but why should a band so mighty as this change? I’m not here to dampen the spirits of loyal Maiden fans, although in a sense Maiden do that themselves with parts of their records, but it could be argued that the album lacks drive. Certain tracks have it but too many don’t and so we get that dark, wallowing feeling which is also down to the production – but that’s not necessarily a bad thing and it suits Bruce Dickinson’s delivery.

The ravenous fan boys are no doubt already salivating and circling like vultures around anyone who sees differently from them, but to my ears the latest Iron Maiden opus becomes a drag all too quickly. It’s muddy and sombre but like numerous Maiden albums over the last 20 years, there’s still enough positives to make it a good record. However, those screaming that it’s the band’s best work or that it takes them back to the classic years are deluded and deaf.

Senjutsu, for its gargantuan length should offer far more than it does, and all too quickly becomes a snoozefest. But it could also be argued that the details I mentioned in the first few lines of this review are qualities which Iron Maiden have made their own; stubbornly galloping into the decade with spirit and keeping the metal flags flying.

Neil Arnold

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