giratina
Educated Fool
So the dude is just speculating ?SPOILER ALERT - SENJUTSU TRACK BY TRACK REVIEW
Iron Maiden's 'Senjutsu' - A Superfan's Track-by-Track Review
We break down every track on Iron Maiden's new album 'Senjutsu'.loudwire.com
Senjutsu - 3rd September 2021
- Thread starter MrKnickerbocker
- Start date
Yax
Ancient Mariner
Of course he isn't. It's about now that the reviews are coming in from selected music journalists who get to hear it before its release.
That was a really interesting read! I'm sure the reviews will start popping up soon.SPOILER ALERT - SENJUTSU TRACK BY TRACK REVIEW
Iron Maiden's 'Senjutsu' - A Superfan's Track-by-Track Review
We break down every track on Iron Maiden's new album 'Senjutsu'.
Happy? The third-biggest German metal magazine features a big cover story with a multi-page Bruce Dickinson interview to come out next week.
And before you ask why it's not the biggest two doing it, it's because their relevant issues aren't out yet. Deaf Forever is bi-monthly, the other two are monthly so they're likely to have either Maiden on the cover or at least big Maiden features in their September issues.
PhantomOfTheOpera
Ancient Mariner
Interesting and I was just gonna post the link here too. I haven't yet read any of this..should I or should I want until september 3rd?SPOILER ALERT - SENJUTSU TRACK BY TRACK REVIEW
Iron Maiden's 'Senjutsu' - A Superfan's Track-by-Track Review
We break down every track on Iron Maiden's new album 'Senjutsu'.
PhantomOfTheOpera
Ancient Mariner
Have to think. I have never ever heard any IM-albums before the actual release date as I won't spoil the fun by listening to leaks.
But reading reviews might be different, tempting but I might still wait some more.
Just regarding reviews some of you might remember TBOS got it's first review from Metal Hammer (atleast it was among the first few I found back then):
Have Maiden pulled off their bold double album experiment?
“There’s a hell of a lot to take in,” Steve Harris recently and sagely proclaimed of Iron Maiden’s first studio double album. Although it’s rare for double platters to genuinely contain two CDs’ worth of material, at 92 minutes The Book Of Souls is a gargantuan emotional journey through some career-best performances that more than makes up for a five-year wait.
In the contemporary orthodoxy of one-off downloads and impatient flicks through stream-sites on smartphones, Britain’s biggest metal band proudly push against the grain, reminding us of a time when The Album was an immersive spiritual experience explored in darkness through headphones. That’s not to say it’s some ponderous prog odyssey; it’s still suffused with the fire and thrust of musicians who learnt their craft in sweaty 70s boozers, but it repeatedly demands and rewards your full attention, different songs and segments blossoming with every spin. Bruce Dickinson, writing alone in Maiden for the first time since No Prayer For The Dying, tops and tails the album with its most thrillingly outré moments. Elemental curtain-raiser If Eternity Should Fail opens The Book Of Souls with a space-age blues vocal and mystical synth fanfare, culminating with demonic pronouncements over a dark acoustic coda, while elegiac 18-minute closer Empire Of The Clouds takes us aboard the 1930 R101 disaster, piano and violin augmenting the song’s poignant leitmotif, arrangements lurching and surging in sympathetic evocation of the doomed airship.
Throughout and between these magnificent Dickinsonian bookends, the band prove themselves on the form of their reunited lives. Nicko attacks his kit with customary barefoot joie de vivre, imbuing even the smallest tom-roll with his personality. Steve’s bass sound is warmer and more integrated, with some of the most sensitive, creative playing of his career. Despite the dirty looseness of the strummed bass intro/outro of his sole solo credit The Red And The Black, the song is distinguished by its jubilant procession of infectious guitar lines, and while some might baulk at the over-familiar ‘Whoa-oh’ chant that ‘Arry feels compelled to shove into his work, you’ll be whoa-ing along by the second spin.
The Man Of Sorrows shares much of the sumptuous, balladic melancholy of Bruce’s 1997 solo song of (nearly) the same name, but you might think the earlier song has the edge – until you get to the beautiful solo. Adrian Smith, Dave Murray and Janick Gers all distinguish themselves with joyous leadwork throughout the album, their distinctive approaches coalescing in a complementary union that packs an emotional punch. Emotional is a keyword for the whole album; there’s a reflective solemnity and depth, charged with wisdom and experience, even in catchy rockers When The River Runs Deep and Tears Of A Clown, rip-snorting NWOBHM a-sides Death Or Glory and Speed Of Light, and the atmospheric Mayan-themed doom of the title track. A couple of songs perhaps conform too readily to Maiden’s post-reunion archetype, but this is as bold as music gets and we’ll happily take years to fully assimilate this treasure chest of densely wrought heavy metal gold.
FINAL VERDICT: 10/10
“There’s a hell of a lot to take in,” Steve Harris recently and sagely proclaimed of Iron Maiden’s first studio double album. Although it’s rare for double platters to genuinely contain two CDs’ worth of material, at 92 minutes The Book Of Souls is a gargantuan emotional journey through some career-best performances that more than makes up for a five-year wait.
In the contemporary orthodoxy of one-off downloads and impatient flicks through stream-sites on smartphones, Britain’s biggest metal band proudly push against the grain, reminding us of a time when The Album was an immersive spiritual experience explored in darkness through headphones. That’s not to say it’s some ponderous prog odyssey; it’s still suffused with the fire and thrust of musicians who learnt their craft in sweaty 70s boozers, but it repeatedly demands and rewards your full attention, different songs and segments blossoming with every spin. Bruce Dickinson, writing alone in Maiden for the first time since No Prayer For The Dying, tops and tails the album with its most thrillingly outré moments. Elemental curtain-raiser If Eternity Should Fail opens The Book Of Souls with a space-age blues vocal and mystical synth fanfare, culminating with demonic pronouncements over a dark acoustic coda, while elegiac 18-minute closer Empire Of The Clouds takes us aboard the 1930 R101 disaster, piano and violin augmenting the song’s poignant leitmotif, arrangements lurching and surging in sympathetic evocation of the doomed airship.
Throughout and between these magnificent Dickinsonian bookends, the band prove themselves on the form of their reunited lives. Nicko attacks his kit with customary barefoot joie de vivre, imbuing even the smallest tom-roll with his personality. Steve’s bass sound is warmer and more integrated, with some of the most sensitive, creative playing of his career. Despite the dirty looseness of the strummed bass intro/outro of his sole solo credit The Red And The Black, the song is distinguished by its jubilant procession of infectious guitar lines, and while some might baulk at the over-familiar ‘Whoa-oh’ chant that ‘Arry feels compelled to shove into his work, you’ll be whoa-ing along by the second spin.
The Man Of Sorrows shares much of the sumptuous, balladic melancholy of Bruce’s 1997 solo song of (nearly) the same name, but you might think the earlier song has the edge – until you get to the beautiful solo. Adrian Smith, Dave Murray and Janick Gers all distinguish themselves with joyous leadwork throughout the album, their distinctive approaches coalescing in a complementary union that packs an emotional punch. Emotional is a keyword for the whole album; there’s a reflective solemnity and depth, charged with wisdom and experience, even in catchy rockers When The River Runs Deep and Tears Of A Clown, rip-snorting NWOBHM a-sides Death Or Glory and Speed Of Light, and the atmospheric Mayan-themed doom of the title track. A couple of songs perhaps conform too readily to Maiden’s post-reunion archetype, but this is as bold as music gets and we’ll happily take years to fully assimilate this treasure chest of densely wrought heavy metal gold.
FINAL VERDICT: 10/10
Meliegree
Evening The Odds.
This for me is all i wanted to hear about one of the songs:
“Darkest Hour” would be a snug fit on Dickinson’s Accident of Birth or The Chemical Wedding solo albums, both of which boasted Smith’s presence.
This is a very atypical Maiden track and is emotionally stirring. It’s rare we get to hear Bruce truly take the spotlight without much instrumentation vying for attention. I expect this will be one of the “grower” tracks for fans who will gradually come to appreciate its splendor.
This is a very atypical Maiden track and is emotionally stirring. It’s rare we get to hear Bruce truly take the spotlight without much instrumentation vying for attention. I expect this will be one of the “grower” tracks for fans who will gradually come to appreciate its splendor.
Iron Lurker
Ancient Mariner
Dear God, I want the album now, lol. Loved the review. Really intrigued to hear Hell on Earth to see what Harry did....
Kalata
Out of the Silent Planet
Sounds like a total classic. Can't wait!SPOILER ALERT - SENJUTSU TRACK BY TRACK REVIEW
Iron Maiden's 'Senjutsu' - A Superfan's Track-by-Track Review
We break down every track on Iron Maiden's new album 'Senjutsu'.
Curious bits for every song:
*obviously without ''The Writing On The Wall'' -> theme of the lyrics: about how we are dealing with the post-war prosperity and where humanity is headed now.
''Senjutsu''
- a solitary drum and a muscular chord now fills out the speakers, some descending chords come in and Nicko is still behind it all, an architect of disorienting, pounding, tumbling tom-kick patterns. Wherever we are, it’s unlike anywhere else we’ve been — and we’re only 45 seconds in.
- there’s multiple vocal tracks and some shrill bits of keyboard orchestration.
- this is really different. The Harris/Smith co-writes are always enticing — the guy who writes all the long songs and the one who still has a knack for the quicker ones. ''Senjutsu'' highlights each of their strengths.
theme of the lyrics: About protecting a wall. Battle.
''Stratego''
- a yearning lead and a steady gallop.
- Janick is playing the vocal melody underneath Bruce. There’s some sort of vocal effect here.
- this reminds me a lot of GOTN the way they play around with the pre-chorus/chorus/post-chorus bits. Janick continues to bring forth some of Maiden’s best material.
- big Dance Of Death vibe.
theme of the lyrics: The way of the warrior/samurai. Battle (again).
''Lost In A Lost World''
- acoustic intro and ''ahhh-ahhh'' vocal passages.
- sturdy riff.
- ghostly vocal effect.
- the verses have a strong melodic delivery.
- The X Factor type chorus, especially after that buildup passage where Janick’s lead follows Bruce some more.
theme of the lyrics: This one is about the slaughter of indigenous tribes, as reflected by those still here.
''Days Of Future Past''
- intro with a bit of an eastern flavor.
- the verse screams vintage Maiden with a proper ripping lead, but that chorus is firmly rooted in the modern day.
- the double time on the chorus at the end is so catchy and very OOTSP of them.
- the hard-charging, single-oriented type track we have come to expect and love whenever Bruce and Adrian team up.
theme of the lyrics: Based on the film Constantine [2005].
''The Time Machine''
- super catchy song.
- the acoustic intro has a ''The Talisman'' vibe.
- carnival-esque melodies.
- acoustic strumming is supporting the chorus.
- two halves make up the whole of the song, all bound by that powerfully arresting chorus.
- the little prog jam breakdown has a ''Starblind'' vibe.
theme of the lyrics: The song focuses on the magnitude of the very concept of visiting bygone eras in Earth’s timeline, rather than cycling through a series of tales.
''Darkest Hour''
- the title speaks to the overall mood of this song, which is dark, brooding and pensive, driven by desperate chords and mystic melodies throughout the stripped back verse. Adrian, again, lays down textured guitar parts that help build to a grand midsection.
- of all the songs on the album, it’s this song that fully encapsulates the enormous range and dynamism of the ageless wonder, Bruce Dickinson.
- a heavy ballad with some blues elements.
- this is a very atypical Maiden track and is emotionally stirring. It’s rare we get to hear Bruce truly take the spotlight without much instrumentation vying for attention.
- the song has a Accident Of Birth/The Chemical Wedding vibes.
theme of the lyrics: A ballad written through the eyes of a soldier who dreads the oncoming day. That darkest hour is the one before the dawn breaks, and the fight and struggle begins anew. About Winston Churchill and how he saved the world despite being a flawed man.
''Death Of The Celts''
- within just seconds, this song feels like a sequel to the ''The Clansman''.
- quiet intro.
- Bruce’s folky, storytelling cadence flows right into the crashing distortion as tension builds… and builds, and builds.
- it's a full 5 minutes before that tension breaks and the song becomes a song of two distinct parts, the latter marked by soaring, simple melodic breaks - like TRATB.
- this is a much stronger nod to the Blaze era than parts of ''Lost In A Lost World''.
theme of the lyrics: it's obvious.
''The Parchment''
- quiet intro again.
- without a obvious chorus.
- lack of traditional structures.
- dark atmosphere.
- lots of parts.
- big Powerslave meets The Book Of Souls vibe.
- the mid tempo pace remains a constant for three-quarters of the song and Nicko maps out every drum stroke perfectly with the enigmatic melodies and orchestral synths. Suddenly, a galloping break.
theme of the lyrics: It sounded like Bruce referenced ancient Hellenic ruler.
''Hell On Earth''
- the opening passage has flashes of WTWWB.
- a quiet intro with no singing at all this time.
- the song possesses some of Steve’s best melodic breaks, ones that are utilized in different ways as the song progresses across it's 11-minute runtime.
- vocally, this is another high point of the album, particularly at the end. Dickinson’s infamous snarl comes out in a visceral way, an impassioned performance that comes right after a minimalist breather.
- a glorious ending that carries off into the distance.
- the best of Steve's four epics, no question and another all-time album closer in a long line of legendary endings.
theme of the lyrics: War is Hell. Mankind’s oldest way of sorting out its problems is touched upon not in terms of courage and glory, but in the cold, dark reality for those caught in it.
''Senjutsu''
- a solitary drum and a muscular chord now fills out the speakers, some descending chords come in and Nicko is still behind it all, an architect of disorienting, pounding, tumbling tom-kick patterns. Wherever we are, it’s unlike anywhere else we’ve been — and we’re only 45 seconds in.
- there’s multiple vocal tracks and some shrill bits of keyboard orchestration.
- this is really different. The Harris/Smith co-writes are always enticing — the guy who writes all the long songs and the one who still has a knack for the quicker ones. ''Senjutsu'' highlights each of their strengths.
theme of the lyrics: About protecting a wall. Battle.
''Stratego''
- a yearning lead and a steady gallop.
- Janick is playing the vocal melody underneath Bruce. There’s some sort of vocal effect here.
- this reminds me a lot of GOTN the way they play around with the pre-chorus/chorus/post-chorus bits. Janick continues to bring forth some of Maiden’s best material.
- big Dance Of Death vibe.
theme of the lyrics: The way of the warrior/samurai. Battle (again).
''Lost In A Lost World''
- acoustic intro and ''ahhh-ahhh'' vocal passages.
- sturdy riff.
- ghostly vocal effect.
- the verses have a strong melodic delivery.
- The X Factor type chorus, especially after that buildup passage where Janick’s lead follows Bruce some more.
theme of the lyrics: This one is about the slaughter of indigenous tribes, as reflected by those still here.
''Days Of Future Past''
- intro with a bit of an eastern flavor.
- the verse screams vintage Maiden with a proper ripping lead, but that chorus is firmly rooted in the modern day.
- the double time on the chorus at the end is so catchy and very OOTSP of them.
- the hard-charging, single-oriented type track we have come to expect and love whenever Bruce and Adrian team up.
theme of the lyrics: Based on the film Constantine [2005].
''The Time Machine''
- super catchy song.
- the acoustic intro has a ''The Talisman'' vibe.
- carnival-esque melodies.
- acoustic strumming is supporting the chorus.
- two halves make up the whole of the song, all bound by that powerfully arresting chorus.
- the little prog jam breakdown has a ''Starblind'' vibe.
theme of the lyrics: The song focuses on the magnitude of the very concept of visiting bygone eras in Earth’s timeline, rather than cycling through a series of tales.
''Darkest Hour''
- the title speaks to the overall mood of this song, which is dark, brooding and pensive, driven by desperate chords and mystic melodies throughout the stripped back verse. Adrian, again, lays down textured guitar parts that help build to a grand midsection.
- of all the songs on the album, it’s this song that fully encapsulates the enormous range and dynamism of the ageless wonder, Bruce Dickinson.
- a heavy ballad with some blues elements.
- this is a very atypical Maiden track and is emotionally stirring. It’s rare we get to hear Bruce truly take the spotlight without much instrumentation vying for attention.
- the song has a Accident Of Birth/The Chemical Wedding vibes.
theme of the lyrics: A ballad written through the eyes of a soldier who dreads the oncoming day. That darkest hour is the one before the dawn breaks, and the fight and struggle begins anew. About Winston Churchill and how he saved the world despite being a flawed man.
''Death Of The Celts''
- within just seconds, this song feels like a sequel to the ''The Clansman''.
- quiet intro.
- Bruce’s folky, storytelling cadence flows right into the crashing distortion as tension builds… and builds, and builds.
- it's a full 5 minutes before that tension breaks and the song becomes a song of two distinct parts, the latter marked by soaring, simple melodic breaks - like TRATB.
- this is a much stronger nod to the Blaze era than parts of ''Lost In A Lost World''.
theme of the lyrics: it's obvious.
''The Parchment''
- quiet intro again.
- without a obvious chorus.
- lack of traditional structures.
- dark atmosphere.
- lots of parts.
- big Powerslave meets The Book Of Souls vibe.
- the mid tempo pace remains a constant for three-quarters of the song and Nicko maps out every drum stroke perfectly with the enigmatic melodies and orchestral synths. Suddenly, a galloping break.
theme of the lyrics: It sounded like Bruce referenced ancient Hellenic ruler.
''Hell On Earth''
- the opening passage has flashes of WTWWB.
- a quiet intro with no singing at all this time.
- the song possesses some of Steve’s best melodic breaks, ones that are utilized in different ways as the song progresses across it's 11-minute runtime.
- vocally, this is another high point of the album, particularly at the end. Dickinson’s infamous snarl comes out in a visceral way, an impassioned performance that comes right after a minimalist breather.
- a glorious ending that carries off into the distance.
- the best of Steve's four epics, no question and another all-time album closer in a long line of legendary endings.
theme of the lyrics: War is Hell. Mankind’s oldest way of sorting out its problems is touched upon not in terms of courage and glory, but in the cold, dark reality for those caught in it.
Last edited:
Kalata
Out of the Silent Planet
As always.
I think Maiden songs tend to be a ''growers'' - this again shows how amazing musicians they are.
Freeeeedom... again!Some of you were right. We will get Clansman II
Freeeeedom... again!
Freeeeedom... again!
Azas
Muted
I am excited as hell.
Days of Future Past - classic uptempo rocker. The Time Machine for me was a dark horse, but now I am eager to hear it. The Parchment - Powerslave and Book of Souls vibes. Uh.. Death of the Celts - Clansman 2. Hell on Earth - Harry did it again. Darkest Hour - could be on AOB or TCW. HELL YEAH!
Days of Future Past - classic uptempo rocker. The Time Machine for me was a dark horse, but now I am eager to hear it. The Parchment - Powerslave and Book of Souls vibes. Uh.. Death of the Celts - Clansman 2. Hell on Earth - Harry did it again. Darkest Hour - could be on AOB or TCW. HELL YEAH!
Last edited: