Iron Maiden – Book Of Souls (2CD on Parlophone)
British Metal Legends Iron Maiden, who transcended their NWoBHM beginnings many moons ago, release their 16th studio album and their first since 2010’s Final Frontier.
Recorded in the latter part of 2014, it’s also their first on Parlophone (the breakup and acquisition of EMI has a lot to answer for). While it’s billed as the band’s first double album, most of their 2000s albums have been issued on 2LP – but that’s the old-school record collector in me.
The release of this album has also been delayed to allow for band promotion, after singer Bruce Dickinson’s successful treatment for an oral cancerous tumour. Go Bruce!
There has been a lot of hype for this album, and rightly so, it is by far the band’s longest, as are some of the songs, and since the Bruce / Adrian Smith return and expansion to a 6 piece, the band have been able to experiment with their sound. Like Judas Priest and Saxon, there have been progressive movements, only more so. Iron Maiden are in a unique position with their legacy and fanbase to do be able to pretty much anything they want artistically. Thing is, it works.
The band formed in the mid 70s and signed to EMI in 1979. Several line-up changes, hit singles, hit albums and tours, ups and downs, the band have stably consisted of returning vocalist Bruce Dickinson and guitarist Adrian Smith along-side guitarists Janick Gers and longtime Dave Murray, drummer Nicko McBrain and founder bassist Steve Harris.
To say this album is the anticipated release of the decade is an understatement and, with a band of Maiden’s quality and consistent bullshit free attitude, it would be difficult not to live up to expectations.
‘If Eternity Should Fail’ opens and sets out the stall for both Maiden and the album nicely; 8 minutes opening with a dark keyboard and guitar, before building and then it’s a full scale gallop. Guitar solos left, right and centre (more in this track than some bands manage on a full album), it’s obvious the triple guitar has been perfectly utilised (although a couple of solos are a little low in the mix). A rough edge to the riff adds a good dimension too.
‘Speed of Light’, a short track of five minutes, had been publically aired pre release, nods to Piece Of Mind.
’The Great Unknown’ features some great guitar harmonies and nods to Somewhere In Time in places.
Track 4, ‘The Red And The Black’, runs to within a second of Rime Of The Ancient Mariner and features complexities, ups and downs, light and shade. There are elements of Seventh Son here, some quick-fire punchy vocals. The guitar work later in the song is really catchy, a feel that you don’t want to end, something you can really rock to.
‘When The River Runs Deep’, at just under 6 minutes, is up from mid tempo with some serious riffage and intricate guitar work, punchy enough to be a second single contender. 7
The 10 minute title track, a Gers/Harris track, again features more soloing and Maiden do it with aplomb. Some chunky minor chords and background keys hint at Alexander The Great, thunderous change of pace mid song. The instrumental break reminiscent of Losfer Words. Closes with similar acoustic guitar that opened, if anyone else tried this it would be overblown.
Disc 2 opens with ‘Death Or Glory’, uptempo, a serious bit of a heavy groove going on, another single contender. ‘Shadows Of The Valley’ follows with some interesting riffs that improve as the song progresses.
‘Tears Of A Clown’ is a wonderful track, the only one under 5 minutes on the whole album. Lyrically and musically just fantastic and about a sadly departed comedian and actor. Listen to it, work it out, and enjoy, that’s all I’ll say.
The six minute #Man Of Sorrows’ sees Murray get a rare writing credit and is delightfully atmospheric.
Then there’s the final track, ‘Empire Of The Clouds’, and fuck me what a magnum opus this is. 18 minutes and a Bruce composition that encompasses SO much. Opens with an almost folky metal fashion with marching drums, a hint of Celtic as it builds mid-song. Some great interweaving guitar work in the proggy workouts and a time/tempo/key change or two. Bruce adds some grand piano to the track that tells story of the R101 Airship Disaster. Challenging, beyond epic, there’s a full album’s journey in this one track.
After one listen, WOW. After 2 or 3 listens, you’ll be engrossed and encapsulated. Only Iron Maiden can pull this off, what most bands couldn’t (or daren’t) even contemplate.
There are Mayan themes, in the artwork too, and the album is bolstered by Kevin Shirley’s production, Jeff Bova’s orchestration and Michael Kenny’s keyboards. While some will criticise, playing on any chugging along, Iron Maiden have taken their root sound as a base and built, twisted, turned, and built again. Just when the plethora of bands (young or otherwise) who Iron Maiden influenced thought they could catch up, Maiden produce this. The guitar work is intricate and interplaying, the bass work is the best and heaviest from Harris yet, and Bruce’s vocals, his power like his range, are on top form. Nuff Said. 9/10
Joe Gessin