karljant
Ancient Mariner
IRON MAIDEN - SENJUTSU:
Senjutsu: 17 records and 41 years after their debut it's hard to predict how a Maiden album will boot. But this one seems to go really down the Samurai/ oriental war theme from the get go. It starts with tribal war drums mixed with shackles and some background effects to bring up the proper atmosphere. All of a sudden, a really bellicose like pompous anthem explodes as the rumbling of Nicko's toms really carries this mid-tempo monster onward. Man, this thing is HEAVY! And sounds really, really powerful as Bruce gives voice to this call to arms to repel the northern invaders (Mongols perhaps). Then comes the chorus and... I don't know... it is indeed well penned but seems to be too melodic regarding the rest of the song and so it deflates its megalithic pace. Other than that, the solos are on point (especially like the ones before the 2nd refrain). The bridge once again bets on the duality of anguish and melody (although I find it way more appropriate to place this contrast here than in the chorus). Overall, a peculiar way to start the album and if it's true I mostly loved it that chorus does break a tad bit the atmosphere the remainder of the track so brilliantly builds. Hey... but the boys thought it should be that way and although I'd probably pick another direction on that section by no means does it stain the remainder of the song that happens to be damn good... it just softens it a bit. Still has his peculiar charm and perhaps it's a grower. 7.75/10
Stratego: I must admit that after listening to Stratego several times I truly enjoy it more than when I first listened to it. Alongside Days of The Future Past this is undoubtedly the most direct track on the album although here we get a majorly galloping pattern dominating tune (something that became less featured in recent Maiden short songs) so let the nostalgia kick in. And while this may not quite be top tier Maiden on this kind of tune let me tell you: IMO it surely comes close! Not that I totally revere everything it brings: again, there's the lead guitar mimic syndrome on the verses and I would even understand if it only was dropped halfway but putting it all the damn way is a bit exhausting. The keyboard sound picked for this one still sounds cheap to me (unlike the melody itself that happens to be quite good). Well... and that's the only stuff I liked the least... and truth be told I can live with it since the rest of the song is truly exciting. The rhythmic section is simply pure Metal energy and Bruce's voice here sounds great: the dynamics between lows and highs are absolutely masterful and the chorus is truly epic! Plus, the "I hear you calling my name... etc" part is a perfect slingshot and serves as a superb bridge to the verses once again (great writing). Also like the way the solo comes before the chorus and the section that gives way to it is another blatant example of simple yet cunning sense of composition and song structuring. So, there you go: easy listening but still full of power and epic flavor! 9/10
The Writing On The Wall: By now I should be a little more into other Senjutsu's tracks than the first song leaked by the band, shouldn't I? Yeah... but the fact is I'm not. There's something in this track... a certain underlying force, a sense of urgency and seriousness in its music and message that is absolutely captivating. The way that really cool desolate acoustic intro breaks the silence followed by this unique riff regarding Maiden's legacy. Let's not endure the "is it folk or is it country" chat (majorly because the latter derives from English folk) but I surely can imagine it as a western movie's score. The lyrics on this one are top notch: full on social/ political metaphorical matters smartly penned that are superbly reinforced by the song's video clip. Vocals sound great and really start bringing the song into other direction when Bruce spearheads the pre chorus inflection and the whole thing achieves its full grandeur (the "A tide of change is coming and that is what you fear, the earthquake is a coming, but you don't want to hear... you're just too blind to see" line just give me goosebumps). We're still presented with some stellar soloing action by Adrian but I really feel WOTW's true strength resides in some kind of dormant and yet immensely powerful force that lies a few inches below the surface during the whole track, like a volcano eruption that doesn't come to happen... and although it didn't you felt its power and damn sure know it's a question of time until one day it all explodes. Strong as hell in so many aspects while bringing some new flavors to Maiden's table. I simply love it. 9/10
Lost In A Lost World: From the get go the intro is truly top stuff. As for the verses this is tough and strong material: dense and muscular and yes, reminding somewhat of a less dark X Factor vibe, yet making justice to the Indian nation's demise (a more in depth and heartfelt look on the same issues already pointed on the all-time classic hit Run To The Hills). The pre-chorus is also cool but once again the play along vocals/ lead guitar annoys me. The refrain then comes as a punch ... And although I like the effect it brings to the whole song (and Bruce's voice is on point) I think it lacks a lead guitar. Plus, it's really derivative of The Wicker Man (that also happens to be a bit too similar to Afraid To Shoot Strangers). Without it while liking the dynamics it sounds a little "naked" to me but nice nonetheless. Speaking of which, the guitar harmony that follows is also similar to ATSS's one. We're then propelled into an array of the said guitar melody and man... there could be at least half of the repetitions before the solo. This is far too much! It then returns to the chorus and pre chorus in acoustic form as an outro. So, although I loved it the first time, I listened to it I can see now some of its faults (as well as another case of "melody lending"). I still think it's a great tune nonetheless and if it wasn't for those details the score would be even higher. 8.5/10
Days Of Future Past: After a really cool intro the whole thing comes to an alt as the rhythm guitar gives the moto to a straight to your face traditional Heavy Rock tune. Do you like The Pilgrim's main riff? Then you'll also dig this one since it's down the same venue. The chorus has this certain pomp and dramatic (almost tragic) feel to it and is followed by a really cool solo. A brief calm bridge that works wonders follows before the refrain is recovered for a last go and the song comes full circle as it finishes with the intro. Hey! This is far from being a masterpiece but it's simple, has bounce, drama and is well put together. And I think that's all: must confess it's far from being Maiden's best achieved short Heavy Rocker but surely like it and it's a fun and easy track to listen to. 7.25/10
The Time Machine: Cool concept on this one (my take is it deals with a man that somewhat reached immortality or something near to it). As for the music itself... mmmm... I have to say there's lots of blatant recycling going on. For starts the intro's melody is somewhat similar to The Talisman and the song would benefit strongly if it was removed. The main section is an intricate mesh that kind of threads prog rock territory with a really colorful mesh that flows into a shiny chorus (IMO the best section on the track). Then this goes full recycling mode (Edge Of Darkness' main melody auto rip off) upon which Bruce lies some cool vocals followed by the chorus and then a couple of different patterns upon which some solid soloing action is placed. It all then returns to the "Edge Of Darkness" part (both instrumental and sang) as the song slows down and returns to "The Talisman" intro. So, there you have it... some really cool parts while others are the most blatant auto rip offs on this album and I think this aspect (alongside the fact the song could easily be 2 minutes shorter) truly hurts my final note. Nonetheless it is still enjoyable and the "new parts" sound on point. 7/10
Darkest Hour: Really melodic and calm song yet with a tragic and dark tone to it. It's well written and it would easily fit in any one of later Dickinson's solo records (it's no coincidence... just check the authors). The song intro and verses sound a bit like Gates Of Urizen (while not reaching by no means Bruce's solo act excellence). That being said, I think the operatic nature of the chorus doesn't fit the main frame. And instead of uplifting the track it sounds kinda deflated to me. Nonetheless, it's a really well put together song in an already over used typology in metal. Yet, truth be told, few of these songs sound so dark and depressive as the fittingly named Darkest Hour. Damn I'll go as far as saying that they really overpainted the black tones on this one. It conveys such a sense of dread and sadness alongside the lyrics it really becomes a tad bit too depressive. As for the music, it sure has its moments but overall I think it's a tad bit boring. 6/10
Death Of The Celts: After more than a minute of cool ambiance (although once again it could be briefer) we get a bass/ finger picking guitar combo that reminds a passage from Virtual XI's The Clansman, which easily understandable due to the lyrical aspect (although both subjects being separated by a considerable time stretch both are deeply seeded in celtic folk soil). Bruce starts singing upon the last of this patterns till it opens up to fat chords while the vocals keep on hitting the folk like lullaby and man this sounds great. And what to say about the chorus? Can things get more pompous and folk like epic than this? Don't know about you but I think the band absolutely nails it here as a whole. After a truly deep guitar solo a sudden break sends this song unto 100% vintage Maiden bouncing up front bass plus guitar harmonies territory and by now, I'm really enjoying this (although once again it could be repeated less times) with Steve going bananas. Some more soloing action and the song returns to the chorus, just in time to end in the verse like sang lullaby that gives melody to the verses. I would give it another go on the verses/ chorus after the first chorus since that section is truly amazing and IMO the beef of the whole track (and cut a some runs on the equally great yet over repeated harmonies in the instrumental part as well as the initial part). But as it is I think it's still a good tune with lots of juice. The only thing that pulls it down is the lack of originality and once again the horribly sounding keyboards. 7.5/10.
The Parchment: Beforehand I won't pay much attention to the Beckett like marching pattern the songs starts with since it is present in so many compositions. What comes to my mind is something more in the vein of Ravel's Bolero before the band hit the gas. And if pompous mid-tempo heavy stuff full of keyboards like The Book Of Souls (the song) is your thing then you'll love this. Not that's recycling by any means (once again the band shows they can explore similar venues without copying themselves). Plus, a certain middle eastern flavor is added to the mix even in the following solos and guitar harmonies. But you know what The Book Of Souls has this song does not? One of Maiden's best choruses in years. The Parchment doesn't even have a refrain (not that's a bad thing... my favorite Maiden song doesn't have one either - ROTAM) and although there's nothing wrong with not having one and the following harmonies and solos being great, I think once again there are too many repetitions. So, by the middle of the song the initial mega punch is lost a bit and things start to get a bit stagnant. By the 6.45-minute mark a new melody seems to point where the track is heading next. It's somewhat similar to The Nomad's mid-section (this time not being literal plagiarism), with Bruce mimicking the guitar's melody on top. Well, by now you already know how bad this trait sounds but it is what it is. The following part, however, is truly epic and the ensemble effect really works out: a mix of power and almost poetic tragedy. Then we get some uptempo action, more soloing and a cool guitar harmony that reminds me of the band's debut title track bridge. Overall, there's everything here necessary to make a great epic Maiden tune but I don't know... The song seems to drag itself at times and features too many twists and turns. And although being built upon well penned melodies and riffs there's something really tiring while listening to it. Nevertheless, it's undeniable it has a lot of stellar moments. 7.25/10
Hell On Earth: To close the album with we're presented with another long epic tune by Mr. Harris. And I must stress from the get go how absolutely gorgeous the opening calm sections are. Man, this sounds truly immersive. But I think that, once again, the same effect would be achieved with a couple less bars although when we're talking about stuff of such quality the damage of over repetition on the main picture is merely residual. The track then goes into full galloping mode and does something peculiar: wanders through all the sections from what one could call the song's second act even before Bruce lays a single singing line on it. That being said let's get the least positive things out of the way so we can enjoy this anthem for the beast of a tune it is shall we? Well, first of all there are a couple of inflections and lines here and there that are really close to some in 2010's When The Wild Wind Blows (especially during the following part). Then there's the underlying guitar line... And while it works on the (shall we call it) pre-chorus it surely once again could be doing something else during the verses. You may say I'm nit picking but this track's overall humongous quality demands this much attention to detail IMO. My other complaint (and this one I must underline) is how the hell you compose such a marvelously epic chorus and only play the sung version once? Man, make this song 14 minutes long... I could care less! This chorus is bonkers and Bruce really nails it. Well, regarding my complaints that's all because everything else here is absolutely marvelous. This is a truly epic and fantastic Maiden opus overall! Dealing with what I believe to be the state this planet and humanity as a whole will be facing (mainly the next generations) if we don't mend our ways and start being more compassionate with our fellow man (and how we would regret it if it happened all of a sudden), I really don't know where to start praising this thing. The pre chorus, the aforementioned refrain... just wow! And the way the solos make the perfect bridge to the song's next act is something. The spine chilling still part (really enjoy the doubled voices here) has that crescendo and tension before the whole thing explodes once again and man how I love the passion and fire Bruce puts on this section (that raspy tone in "anger"... wow)! The guitar harmony and solos here are also really good and the song fades as it returns to the intro soft melody. So, Hell On Earth is not devoid of things I dislike, but the fact is the stuff I love is so breath taking it absolutely surmounts each one of those details. This song my friends is just another great chapter added to Maiden's gigantic legacy. 8.75/10
PS: 7.9/10 points song average
So, there you have it: 41 years after their debut it is almost incredible how these guys can pull out this record. Not that it's on par with their best ones (nor could it be). Bruce's voice (now cured of cancer complications) is sounding better than the previous album. Production is nothing out of this world but it's ok, even slightly better than the previous effort. And what to say of this really demonic looking, blood drooling, ready to attack Samurai Eddie? Stellar work by Mark Wilkinson! On the downside the keyboards sound awful, some songs could use some trimming here and there, sometimes it gets a bit tiring and repetitive and in some other sections there's still an excessive use of lead guitar and vocals mimicking. Another point I must stress is, while I liked all songs except one, there's not a single tune from Senjutsu I think I'd put on the top 10/15 tunes ever. And that´s not a bad thing: it just to reinforces how cohesive the record is. Nevertheless, as a whole this record is a triumph... and if this is Iron Maiden's swansong it surely is a glorious way to say goodbye! 7.5/10
Senjutsu: 17 records and 41 years after their debut it's hard to predict how a Maiden album will boot. But this one seems to go really down the Samurai/ oriental war theme from the get go. It starts with tribal war drums mixed with shackles and some background effects to bring up the proper atmosphere. All of a sudden, a really bellicose like pompous anthem explodes as the rumbling of Nicko's toms really carries this mid-tempo monster onward. Man, this thing is HEAVY! And sounds really, really powerful as Bruce gives voice to this call to arms to repel the northern invaders (Mongols perhaps). Then comes the chorus and... I don't know... it is indeed well penned but seems to be too melodic regarding the rest of the song and so it deflates its megalithic pace. Other than that, the solos are on point (especially like the ones before the 2nd refrain). The bridge once again bets on the duality of anguish and melody (although I find it way more appropriate to place this contrast here than in the chorus). Overall, a peculiar way to start the album and if it's true I mostly loved it that chorus does break a tad bit the atmosphere the remainder of the track so brilliantly builds. Hey... but the boys thought it should be that way and although I'd probably pick another direction on that section by no means does it stain the remainder of the song that happens to be damn good... it just softens it a bit. Still has his peculiar charm and perhaps it's a grower. 7.75/10
Stratego: I must admit that after listening to Stratego several times I truly enjoy it more than when I first listened to it. Alongside Days of The Future Past this is undoubtedly the most direct track on the album although here we get a majorly galloping pattern dominating tune (something that became less featured in recent Maiden short songs) so let the nostalgia kick in. And while this may not quite be top tier Maiden on this kind of tune let me tell you: IMO it surely comes close! Not that I totally revere everything it brings: again, there's the lead guitar mimic syndrome on the verses and I would even understand if it only was dropped halfway but putting it all the damn way is a bit exhausting. The keyboard sound picked for this one still sounds cheap to me (unlike the melody itself that happens to be quite good). Well... and that's the only stuff I liked the least... and truth be told I can live with it since the rest of the song is truly exciting. The rhythmic section is simply pure Metal energy and Bruce's voice here sounds great: the dynamics between lows and highs are absolutely masterful and the chorus is truly epic! Plus, the "I hear you calling my name... etc" part is a perfect slingshot and serves as a superb bridge to the verses once again (great writing). Also like the way the solo comes before the chorus and the section that gives way to it is another blatant example of simple yet cunning sense of composition and song structuring. So, there you go: easy listening but still full of power and epic flavor! 9/10
The Writing On The Wall: By now I should be a little more into other Senjutsu's tracks than the first song leaked by the band, shouldn't I? Yeah... but the fact is I'm not. There's something in this track... a certain underlying force, a sense of urgency and seriousness in its music and message that is absolutely captivating. The way that really cool desolate acoustic intro breaks the silence followed by this unique riff regarding Maiden's legacy. Let's not endure the "is it folk or is it country" chat (majorly because the latter derives from English folk) but I surely can imagine it as a western movie's score. The lyrics on this one are top notch: full on social/ political metaphorical matters smartly penned that are superbly reinforced by the song's video clip. Vocals sound great and really start bringing the song into other direction when Bruce spearheads the pre chorus inflection and the whole thing achieves its full grandeur (the "A tide of change is coming and that is what you fear, the earthquake is a coming, but you don't want to hear... you're just too blind to see" line just give me goosebumps). We're still presented with some stellar soloing action by Adrian but I really feel WOTW's true strength resides in some kind of dormant and yet immensely powerful force that lies a few inches below the surface during the whole track, like a volcano eruption that doesn't come to happen... and although it didn't you felt its power and damn sure know it's a question of time until one day it all explodes. Strong as hell in so many aspects while bringing some new flavors to Maiden's table. I simply love it. 9/10
Lost In A Lost World: From the get go the intro is truly top stuff. As for the verses this is tough and strong material: dense and muscular and yes, reminding somewhat of a less dark X Factor vibe, yet making justice to the Indian nation's demise (a more in depth and heartfelt look on the same issues already pointed on the all-time classic hit Run To The Hills). The pre-chorus is also cool but once again the play along vocals/ lead guitar annoys me. The refrain then comes as a punch ... And although I like the effect it brings to the whole song (and Bruce's voice is on point) I think it lacks a lead guitar. Plus, it's really derivative of The Wicker Man (that also happens to be a bit too similar to Afraid To Shoot Strangers). Without it while liking the dynamics it sounds a little "naked" to me but nice nonetheless. Speaking of which, the guitar harmony that follows is also similar to ATSS's one. We're then propelled into an array of the said guitar melody and man... there could be at least half of the repetitions before the solo. This is far too much! It then returns to the chorus and pre chorus in acoustic form as an outro. So, although I loved it the first time, I listened to it I can see now some of its faults (as well as another case of "melody lending"). I still think it's a great tune nonetheless and if it wasn't for those details the score would be even higher. 8.5/10
Days Of Future Past: After a really cool intro the whole thing comes to an alt as the rhythm guitar gives the moto to a straight to your face traditional Heavy Rock tune. Do you like The Pilgrim's main riff? Then you'll also dig this one since it's down the same venue. The chorus has this certain pomp and dramatic (almost tragic) feel to it and is followed by a really cool solo. A brief calm bridge that works wonders follows before the refrain is recovered for a last go and the song comes full circle as it finishes with the intro. Hey! This is far from being a masterpiece but it's simple, has bounce, drama and is well put together. And I think that's all: must confess it's far from being Maiden's best achieved short Heavy Rocker but surely like it and it's a fun and easy track to listen to. 7.25/10
The Time Machine: Cool concept on this one (my take is it deals with a man that somewhat reached immortality or something near to it). As for the music itself... mmmm... I have to say there's lots of blatant recycling going on. For starts the intro's melody is somewhat similar to The Talisman and the song would benefit strongly if it was removed. The main section is an intricate mesh that kind of threads prog rock territory with a really colorful mesh that flows into a shiny chorus (IMO the best section on the track). Then this goes full recycling mode (Edge Of Darkness' main melody auto rip off) upon which Bruce lies some cool vocals followed by the chorus and then a couple of different patterns upon which some solid soloing action is placed. It all then returns to the "Edge Of Darkness" part (both instrumental and sang) as the song slows down and returns to "The Talisman" intro. So, there you have it... some really cool parts while others are the most blatant auto rip offs on this album and I think this aspect (alongside the fact the song could easily be 2 minutes shorter) truly hurts my final note. Nonetheless it is still enjoyable and the "new parts" sound on point. 7/10
Darkest Hour: Really melodic and calm song yet with a tragic and dark tone to it. It's well written and it would easily fit in any one of later Dickinson's solo records (it's no coincidence... just check the authors). The song intro and verses sound a bit like Gates Of Urizen (while not reaching by no means Bruce's solo act excellence). That being said, I think the operatic nature of the chorus doesn't fit the main frame. And instead of uplifting the track it sounds kinda deflated to me. Nonetheless, it's a really well put together song in an already over used typology in metal. Yet, truth be told, few of these songs sound so dark and depressive as the fittingly named Darkest Hour. Damn I'll go as far as saying that they really overpainted the black tones on this one. It conveys such a sense of dread and sadness alongside the lyrics it really becomes a tad bit too depressive. As for the music, it sure has its moments but overall I think it's a tad bit boring. 6/10
Death Of The Celts: After more than a minute of cool ambiance (although once again it could be briefer) we get a bass/ finger picking guitar combo that reminds a passage from Virtual XI's The Clansman, which easily understandable due to the lyrical aspect (although both subjects being separated by a considerable time stretch both are deeply seeded in celtic folk soil). Bruce starts singing upon the last of this patterns till it opens up to fat chords while the vocals keep on hitting the folk like lullaby and man this sounds great. And what to say about the chorus? Can things get more pompous and folk like epic than this? Don't know about you but I think the band absolutely nails it here as a whole. After a truly deep guitar solo a sudden break sends this song unto 100% vintage Maiden bouncing up front bass plus guitar harmonies territory and by now, I'm really enjoying this (although once again it could be repeated less times) with Steve going bananas. Some more soloing action and the song returns to the chorus, just in time to end in the verse like sang lullaby that gives melody to the verses. I would give it another go on the verses/ chorus after the first chorus since that section is truly amazing and IMO the beef of the whole track (and cut a some runs on the equally great yet over repeated harmonies in the instrumental part as well as the initial part). But as it is I think it's still a good tune with lots of juice. The only thing that pulls it down is the lack of originality and once again the horribly sounding keyboards. 7.5/10.
The Parchment: Beforehand I won't pay much attention to the Beckett like marching pattern the songs starts with since it is present in so many compositions. What comes to my mind is something more in the vein of Ravel's Bolero before the band hit the gas. And if pompous mid-tempo heavy stuff full of keyboards like The Book Of Souls (the song) is your thing then you'll love this. Not that's recycling by any means (once again the band shows they can explore similar venues without copying themselves). Plus, a certain middle eastern flavor is added to the mix even in the following solos and guitar harmonies. But you know what The Book Of Souls has this song does not? One of Maiden's best choruses in years. The Parchment doesn't even have a refrain (not that's a bad thing... my favorite Maiden song doesn't have one either - ROTAM) and although there's nothing wrong with not having one and the following harmonies and solos being great, I think once again there are too many repetitions. So, by the middle of the song the initial mega punch is lost a bit and things start to get a bit stagnant. By the 6.45-minute mark a new melody seems to point where the track is heading next. It's somewhat similar to The Nomad's mid-section (this time not being literal plagiarism), with Bruce mimicking the guitar's melody on top. Well, by now you already know how bad this trait sounds but it is what it is. The following part, however, is truly epic and the ensemble effect really works out: a mix of power and almost poetic tragedy. Then we get some uptempo action, more soloing and a cool guitar harmony that reminds me of the band's debut title track bridge. Overall, there's everything here necessary to make a great epic Maiden tune but I don't know... The song seems to drag itself at times and features too many twists and turns. And although being built upon well penned melodies and riffs there's something really tiring while listening to it. Nevertheless, it's undeniable it has a lot of stellar moments. 7.25/10
Hell On Earth: To close the album with we're presented with another long epic tune by Mr. Harris. And I must stress from the get go how absolutely gorgeous the opening calm sections are. Man, this sounds truly immersive. But I think that, once again, the same effect would be achieved with a couple less bars although when we're talking about stuff of such quality the damage of over repetition on the main picture is merely residual. The track then goes into full galloping mode and does something peculiar: wanders through all the sections from what one could call the song's second act even before Bruce lays a single singing line on it. That being said let's get the least positive things out of the way so we can enjoy this anthem for the beast of a tune it is shall we? Well, first of all there are a couple of inflections and lines here and there that are really close to some in 2010's When The Wild Wind Blows (especially during the following part). Then there's the underlying guitar line... And while it works on the (shall we call it) pre-chorus it surely once again could be doing something else during the verses. You may say I'm nit picking but this track's overall humongous quality demands this much attention to detail IMO. My other complaint (and this one I must underline) is how the hell you compose such a marvelously epic chorus and only play the sung version once? Man, make this song 14 minutes long... I could care less! This chorus is bonkers and Bruce really nails it. Well, regarding my complaints that's all because everything else here is absolutely marvelous. This is a truly epic and fantastic Maiden opus overall! Dealing with what I believe to be the state this planet and humanity as a whole will be facing (mainly the next generations) if we don't mend our ways and start being more compassionate with our fellow man (and how we would regret it if it happened all of a sudden), I really don't know where to start praising this thing. The pre chorus, the aforementioned refrain... just wow! And the way the solos make the perfect bridge to the song's next act is something. The spine chilling still part (really enjoy the doubled voices here) has that crescendo and tension before the whole thing explodes once again and man how I love the passion and fire Bruce puts on this section (that raspy tone in "anger"... wow)! The guitar harmony and solos here are also really good and the song fades as it returns to the intro soft melody. So, Hell On Earth is not devoid of things I dislike, but the fact is the stuff I love is so breath taking it absolutely surmounts each one of those details. This song my friends is just another great chapter added to Maiden's gigantic legacy. 8.75/10
PS: 7.9/10 points song average
So, there you have it: 41 years after their debut it is almost incredible how these guys can pull out this record. Not that it's on par with their best ones (nor could it be). Bruce's voice (now cured of cancer complications) is sounding better than the previous album. Production is nothing out of this world but it's ok, even slightly better than the previous effort. And what to say of this really demonic looking, blood drooling, ready to attack Samurai Eddie? Stellar work by Mark Wilkinson! On the downside the keyboards sound awful, some songs could use some trimming here and there, sometimes it gets a bit tiring and repetitive and in some other sections there's still an excessive use of lead guitar and vocals mimicking. Another point I must stress is, while I liked all songs except one, there's not a single tune from Senjutsu I think I'd put on the top 10/15 tunes ever. And that´s not a bad thing: it just to reinforces how cohesive the record is. Nevertheless, as a whole this record is a triumph... and if this is Iron Maiden's swansong it surely is a glorious way to say goodbye! 7.5/10
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