Iron Maiden - Senjutsu Album Review

 

British metal pioneers Iron Maiden have returned with their latest release, Senjutsu, their first album in six years.

As suggested by the samurai clad version of mascot Eddie, Senjutsu takes its inspiration from the Eastern realm and this proves effective within moments of the album's ambitious musicality and lyricism.

In recent years we have seen Iron Maiden dabble in more progressive styles, aided mostly by bass player Steve Harris and Senjutsu continues that trend. It is Maiden's second double-album and requires patience whilst indulging in its 81 minute length. There certainly are progressive periods throughout as exemplified by the majority of Senjutsu's tracks comfortably surpassing the seven minute mark, however there are surprising glimpses of Maiden's iconic sound coming into fruition.

Iron Maiden's 17th album opens with the title track which exhibits a re-energised band, one which shares similarities with their prime form. Cutthroat guitar riffs and enigmatic solos steal the show on this track but more importantly they make a statement of intent, Maiden are completely in touch with themselves. 

Previously released track Stratego overwhelms with its gallop that is synonymous with the heavy metal titans and would fit in comfortably with some of the band's 2000s output. Main single, The Writing on the Wall, sees Maiden approach to a mid-tempo song full of swagger. Bruce Dickinson's ability to continually nail high pitch notes despite personal illness is second to none and The Writing on the Wall contains one of Iron Maiden's most enjoyable choruses to date. The dueling guitar solos towards the tail end of the track allows an air of flamboyance which compliments the song's grit.

Other high points of Senjutsu includes the four minute stomper, Days of Future Past, a guttural track which most resembles their 1980's output. The Time Machine is laden in atmosphere and allows progressive elements to seep through. 

Senjutsu reaches its climax with a trilogy of epic tracks, all of which exceed the ten minute mark. Death of the Celts is trepidatious in its approach and has jaunty moments but doesn't really pack a punch until the second half of the track. 

The Parchment has a lot more to offer as it opens with an interesting acoustic motif which then molds into a trio of heavy riff heaven. A lead guitar line is in sync with Dickinson's enchanting vocals and only powers them further. Phenominal guitar solos take their course throughout The Parchment, underlayed by the groove of drummer Nicko McBrain.

Hell on Earth closes the album out in a rather melancholy way, with profound lyrics such as "I wish I could go back/ Will never be the same again/ Bled for all upon this hell on earth/ And when I leave this world/ I hope to see you all again/ On the other side of hell on earth." The tempo changes throughout aid the song in its diversity and ability to captivate the listener. It can be argued that Hell on Earth is a highly suitable closer and draws the album to its conclusion.

Senjutsu is an instant highlight in Iron Maiden's catalogue and it finds the balance between progressive and formulaic succinctly. It is considerably more fascinating than 2015's turgid Book of Souls and with stellar production assisting the album, Maiden recapture their youth whilst showing they are always willing to evolve. Long live Maiden.

Rating: 7.5/10

Check out The Writing on the Wall below: