Is Bruce's ass big enough to sit on two chairs?
The Memedrake Mandrake Project Review
Honestly, I didn't know
how to start this review, or how to finish it or what to say. I had several ideas that weren't connected, started writing them several times in the last month, and always changed my approach. Then I realized: Bruce did the same it looked like he enjoyed the journey, so I'll try to do the same.
I still can't put my finger on it. I can't put my thumb up because I can't say I'm satisfied with it (more on it in „cons“ section). I can't put my thumb down because I don't think it's a bad album (more on it in „pro“ section). Like the album itself, my current views are on opposite sides of the spectrum. The more I learn about the album, the more my opinion goes back and forth.
With so many years in the making, and reading several times that Bruce wanted to make a concept album, I must admit that I was really looking forward to it. And when the album was announced, it also pointed in that direction. It's a „project“, it suggests a concept, right? Well, weeks before it came out, Bruce said in the interviews – it's not a concept album. But after several listens, I could hear it – it
was a concept album. But it was abandoned, merging it with songs that had nothing to do with the concept, while keeping the songs that were conceptual as they were. So, it's not here not there.
And that whole approach is translated to themes, too. There's fantasy, there's horror, there's tales of folklore and legends and if there's an umbrella wide enough, you can put them all in the „otherworldy“ category. It could be a nice compilation of little fiction stories. But then, there are also songs with social commentary, psychological aspects, and plain-as-a-day song about addiction. Can't say anything's wrong with either of these approaches, but all of them in one place suggest either a complete lack of vision (which there isn't since some of those songs are connected) or complete spur-of-the-moment decisions (which it isn't since it's been 20 years in the making). Again, neither here nor there. Two chairs.
It's no wonder „The Mandrake Project“ is difficult to compare with Bruce's previous work. The style, the themes, and the feel are completely different. And yet, a lot of the songs from TMP could've been found on some of the previous albums and they wouldn't stuck out that much. Although people are claiming they love the album (and I believe them), with recency bias and (hopefully) more Bruce albums, in some distant future, this one could easily slip into the middle of the rankings lists. Trying to please everybody, and give something to everybody also means that nobody will be satisfied at full. There will always be „Wish there were more songs like this one on the album“ and
this song (as far as I concluded from skimming this thread) is always a different one. Each of the ten songs from TMP found their way into somebody's top three. On the upside, it could be a great introduction album to somebody who isn't into Bruce or rock/metal in general. „Oh, you like
this song from TMP? Try
that album.“
The main star of the album is, of course, Bruce and the main spotlight is on him, and there's a little spotlight for Roy Z also. Actually, that statement wouldn't be fair for everybody else in the band since they were with Bruce on this album since the last one – Dave Moreno and Mystheria. (I guess he had a good relationship with Tanya on Concerto dates, she comes off as really professional and it's no wonder she was his first choice for the tour.) The storm in a teacup that came with the tour line-up announcement and the addendum of the tour line-up announcement is a story for itself, but I'll refrain from commenting until I see (hear) how it plays out. So, this was Bruce's recording band he's been working with for past decades. Except, Bruce met Mystheria for the first time last year. It's 2024 and it's not weird you work with somebody for 15 years without actually meeting the person, but to me, this kind of stuff can be felt on the album.
There is more than one occasion that made me ask out loud „WTF?!“ when I was listening to it for the first time. It may be mixing, producing or mastering, but I think most of the things that bug me happened right at the moment when the songs were recorded (I'm thinking about sound and effect on the vocal and instruments which, in my opinion, weren't always utilized to enhance something that wasn't necessary to enhance.) It would be stupid to say that the album could've sounded much differently if it was recorded in one take with the whole band. And a „proper“ producer. Except Roy Z, I doubt that any of the people who participated in making this album had the credibility to say to Bruce „Maybe you could try something different?“ After all, it's
his vision and it will sound how
he wants it to sound. And if he wants to make an album in chunks, during different periods, using different styles, equipment, and methods of writing, so be it.
Except it wasn't like that. Just when I thought this album was written „over the net“ with Bruce giving instructions, there goes Bruce saying he and Roy Z spent days just sitting in the room thinking what to write, and on several different occasions. More so, Bruce did instruct Roy on what he envisioned, but when Roy played it, it took Bruce in a completely different direction. Even more so, when the song was, much or less, finished, he'd get a track from Mystheria and he decides to turn the song around to fit the particular track he liked. Did I already mention this album feels like Bruce trying to grap opposite, unreachable sides of something and try to fit them into a single narrative?
Speaking of Bruce himself, I have to admit this: he was, is, and will be my favorite singer. Period. Although I had occasional scrub with metal music, it was his voice that made me go into this rabbit hole I've been circling for 20 years or more. In the past 20 years, his voice did change, same as I. But
the Bruce, his voice, and the style I've heard on The Mandrake Project is still
the Bruce I fell in love with. This being said I have to admit I found that
love in places I didn't expect them, and the places I expect I'd love – weren't there. There are moments on the album where I think „To whom is he trying to prove himself ?!“ Also, there were moments where, 20 years ago I expect to just skim, I'd go „Holy fucking shit, he nailed it“. There are a lot of bridges and choruses way above his (or any other person who is hitting 65 years) comfort zone. Even worse, I know he's got the knack to make something sound good, even if he can't sing it the way it was meant to be sung. But, there are lines and passes where he sings them with such ease (and a bit of raspy undertone) that makes me go: this is the Bruce I fell in love with.
This whole album sounds like a person who has nothing to prove anymore but still decides to. He doesn't need to please the majority of his fan base, but still decides to. He doesn't need to rely on his legacy but still decides to. He can step in any direction which pleases him but decides not to. And in every aspect of this decision, he doesn't take it all the way and, to me, didn't make it work. But still, somehow, pulled it out with grace. I know what I wrote doesn't make sense much, but that's how I feel about it. Instead of more rambling nonsense, I'll just skip to the songs. I don't do numbers, but let's say I have 100$ and I have to spend them on these 10 songs. Here's how much I'd be willing to pay for them.
Afterglow of Ragnarok – 10$
Nice opener, and a great indicator of what to expect from this album. There was a teaser with Bruce „growling“ but then you get a melodic (a bit pop-y) chorus. Bruce sounds good, but the effects he used didn't; there is a break for a solo which isn't actually a „proper“ solo… IDK, I might get tired of it a bit because I kept listening to those two singles before it came out. It works great as an opener, it isn't a bad song, but it also isn't one of those songs I'd come back to if I wasn't listening to the whole album. One thing I'm sure of is, when the tour starts (and I have no doubt this one will be played live), I'll probably change my opinion. For better or worse.
Many Doors to Hell – 5$
Right from that whoosh tom drum sound and glam-ish guitar riff, this song didn't sit with me. Bruce sounds good on verses and sounds absolutely abysmal on the bridge. You have one of the greatest metal vocalist in the industry and instead of toning it down a bit, you lay a ton-of-bricks effect on his voice. That part after the second chorus saves it from asking for a 2$ discount.
Rain on the Graves – 5$
The title doesn't have a lot to do with the story, does it? I get it, Bruce got the inspiration from visiting a graveyard years ago, but that's all it is, isn't it? I mean, the rest of the song came as Bruce and Roy Z trying to do something in the vein of „Oh Well“ by Fleetwood Mac (how and why he chose that song is beyond me) and ended up with „Devil Went Down to Georgia“. Not something I expected from Bruce. Same as Afterglow, I'll probably change my opinion on it once I hear it live.
Resurrection Man – 13$
Now this is the part where it got complicated for me the first time. I wasn't impressed after the first three songs, but I immediately liked the intro in this one. The verses that came only built up tension, and the chorus isn't even that bad, but Bruce sounds like somebody trying to imitate Bruce. Then that break threw me completely off guard. I hadn't paid attention to the lyrics and it was before „My name is Lazarus“ but immediately I knew it was a concept song. Such a sudden break is ideal to either introduce a new charachter or push the story forward. In this past month, I made my peace that this concept would never come to fruition and I should accept it as it is, but still, I wonder: „What if?“
Of course, Bruce proved me wrong. The only reason that break is there is not to introduce a new character or propel the story forward – it was there because it was unexpected. Bruce thought the song was going too straightforward and he wanted something completely different so Roy Z came up with that riff. So, yeah…. It can't be that person can „accidentally “ write good songs for 40+ years, but I still find it amusing how 1) What Bruce wanted to write ; 2) What the final result was ; 3) What I think it meant ; 4) What it actually means – are four completely different things. I don't know how it happens but it is often so I can not count that one as coincidence.
Fingers in the Wounds – 17$
This is the song I need, not the one I deserve. When Bruce said „different“ this is different I expected. Pretty straightforward rock song, with just enough high vocals and an instrumental part that is out of this world. That instrumental part – a thousand times yes. Again, one can only wonder what would happen if this project was recorded in one take with Mystheria in the studio. Maybe the albums would be different but more in „whole album is different from the others“ instead of „every song is different from each other“.
Eternity Has Failed – 12$
Here's a blasphemy: I wish I hadn't heard Maiden's version and this was my first encounter with this song. I wasn't a Book of Souls fan when it came out and, except hearing it live, If Eternity Should Fail didn't sit well with me. I couldn't put my finger on why until I heard this version. After the great intro, the Maiden version kinda goes back and forth with the tempo ie. the feel of the song. Double lead guitar harmony disappears in the chorus leaving Bruce alone and I always felt it was kind of a sudden dynamic change between verses/choruses and the break. Here, the rhythm guitar is up front leading the song, with single guitar harmony in the background and when it comes to a chorus, instead of a feeling like it's going gear down, in this version it goes gear up. The same can be said with the last chorus after the break where the synths take the song to another level. But all in all, it's the same dish in different packaging so, out of spite, it's not the most expensive song on the album.
Mistress of Mercy – 18$
This one is the most expensive song on the album. Yes, the „Freak“ riff is there, but everything about this song screams „Skunkworks“ to me. The openness of the chords, the light-hearted lyrics, Bruce going up and down both with the melody and vocals – I love everything about it. Except overall production maybe, but since every song feels like it comes from a different album, I can't really „blame“ the song for the audio standard that isn't even there.
Face in the Mirror – 2$
Down-to-Earth song that pretty much most people can rely to. I think every one of us knows somebody who battled addiction, whether it is alcoholism or something else. The lyrics are to the point, no artsy-farsty stuff and the message goes straight to the head. The only problem for me with this one, and it's a pretty big one – it's stock. Both vocal melody and piano melody are too generic. If any one of those two had just a bit of variation, I think it may be miles better. Shame that a song with the most genuine lyrics on the album ended up as a filler.
Shadow of the Gods – 8$
I can not listen to this song without the image of Halford in my head. Maybe because the second part of the song reminds me too much of some other Halford solo song (something from Ressurection?) or maybe it is because it can really be heard that the vocal lines were written for somebody else than Bruce. I should've liked this one more, but I can't shake the feeling that the song sounds like Tyranny of Souls leftover and the reason why it didn't come until now is because its role was to be some sort of longer epic track
Sonata (Immortal Beloved) – 10$
The most divisive song on the record can mean only one thing: either you think it's crap or you think is amazing. Same as the whole album, I'll try to take the middle road. The mood is great, the story is simple yet effective, the repetition works. The way he sings „Save me now“ four times in a row with the same melody and the tail of the chorus „dances“ a bit – love it. BUT, I must admit I rather hear the first part of the song twice instead of listening to the whole thing once. While there are some extremely emotional parts in the first verses, „Love has brought you here“ part is also emotional but also feels forced. The repetition that was in first part builds a mood, while in the second part is too much on the nose and kinda kills the mood. The song starts with a certain feel and tries to end with a climax which somehow waters down the whole song.
I can't shake the feeling that we would probably never hear Sonata until Bruce read roar reviews about his „Empire of the Clouds“. That wasn't a Maiden song (to me it still has a lot of issues), until critics and fans raved it's one of the best things they've recorded. Now, Sonata was recorded 20 years ago, but if Bruce really felt it was the bees knees it would've been out by now. I'll be honest, the last couple of listens I didn't even listen to the second part, just played the first one twice.
CONS
It's out
Here's why this is a con for me: no matter how much I tried, I can't forget the fact that this was 19 years in the making. Usually, I try to approach any piece of art individualy, trying to remove any ties it has with its predecessors or makers. Not with this one. I can't help but wonder how much „safer“ this album would've been if it was released, let's say in 2008/2009. More so, if Tyranny of Souls was released 2020 or something like that, I wonder could this one be more out there. Like, Bruce recently proved with „Tyrany of Souls“ he's still a top act in heavy metal, let's now see him do something different. This huge gap made me think he, again, wanted to prove two things: he's still got it and he doesn't feel obligated to make „another metal album“.
As I've said before, it doesn't sound to me like he made it in either of those points. Yes, he still got it, but chose the wrong pathway or tools for it. It's not „another metal album“ but (excluding Sonata) it's not something you haven't heard from Bruce before.
Weird production choices
This point alone deserves a text which would probably be longer than the whole review. I'm not educated in pitches and scales and if you put me at the mixing booth, I'd just pull every knob to 10. I have no idea how to explain what's „wrong“. But, to me, it doesn't sound right. Whether it's decisions on how to sing certain parts, how to construct the song, which effects to use, or what to highlight – I have a feeling Bruce (or whoever was with him) can do it
much, much better.
Isolation problem
I've already said that this album could've sounded much different (maybe better?) if it was done in one take with the whole band in the studio. But, as we know, Bruce is a person who likes to bounce several balls in the air. No matter that some of them manage to slip, fall, and break, he'll add some other and continue jugling. While Maiden are around (and even when they aren't) I doubt Bruce will ever again confine himself to studio with goal to make an awesome album. In his later three albums from the '90s, people were in one room bouncing ideas from one to another: songs changed, merged, grew. This doesn't feel like it. This feels like a one-man job outsourcing his ideas and not because he doesn't have money, time, or will to make it. No, it feels like a conglomerate trying to push out a new campaign with various new products, while the product they've been known for – is just one piece of the campaign.
It's a project
And unfortunately for me, the term „project“ isn't aimed at the album itself. It's aimed at the story. It's a well-known fact that selling „albums only“ doesn't make money. Making music videos less so. But comic books? Yeah, that's cheap but still creative enough to bring your ideas to the masses. What airplane business was to Bruce in the last decade, comic books will be in the next decade. It's a new area to Bruce which he stumbled completely accidentally, and he liked it. This can only make me conclude, that even after Mandrake Project is over, one of these balls will always be comic books, or he will try something different, where the new album or music will be just
another ball.
PROS
It's out
I'd take The Mandrake Project every day of the week and twice on weekends over clips, interviews and/or songs that could've potentially leaked out in the last 19 years. The final product may not be to everybody's liking, but
it is a new product. Listening to some of these tracks I wondered was there a possibility to take the easy road out with this whole thing. Like, a new series of remasters where he'd chuck demos on it, but he knew people would still buy it because nothing sells better than a memory. And here you'd get memory AND something new. Recorded a new song or two? Just chuck it on YT to hype the people about new tour. Looking at what the artists that have 40+ years of career are lately doing – Bruce did solid. Here's a proper new album (with one song that you've already heard, but hey, nine new ones).
Moreso, I hope this is like one of those snowballs turning into an avalanche type of thing. Once thing get traction, harder it will be to stop it. I try not to think this means Maiden's time is soon at the end, but rather as Bruce showing that, whatever happens, he's still determined to make music.
Replayability factor
This whole thing every-song-is-different-from-the-other may have a good side. I can imagine myself, sometimes in the future, putting The Mandrake Project on (after not listening to it for a longer period) and be completely blown away by a part of a song that I've forgotten. Surely, there will be bits and pieces I'd love and the ones I hate, but also, I believe the whole experience of listening to it in the future will be completely different from today.
I don't think I've mentioned it before, but the album doesn't overstay its welcome. Every song is to the point and (Sonata excluded) there isn't much dragging. I may not like certain parts, but it doesn't feel like I'd gain much by removing them.
New Tour
Maybe the biggest deal of the whole project – we get to see Bruce live. Surely, there were occasions you could hear Bruce sings the song from his solo career, but it doesn't really count, does it? For a lot of people (myself included) this is the first occasion to hear Bruce live. And, completely honest (and I know this is a big deal to some) – I don't care who is on stage with him. No Adrian, no Roy? Couldn't care less. I came primarily to the gig for Bruce and his songs, whether he plays them with one or seven guitarists on stage, or over a backing track with a huge Winamp backdrop on the stage – I don't care. Just give me Bruce singing his songs. (Should we open a new thread for Bruce tour?)
By the time I've finished writing this, rehearsals are already on. And to answer my question at the beginning – I don't know if Bruce's ass is big enough for two chairs. But I do know this: if he manages to pull the majority of what he envisioned on tour – he'll need two chairs for those big balls of his.
This post was brought to you by Internet Explorer.
