Iron Maiden continues to dominate metal

By Greg Manning
Collegian Reporter
September 20, 2006

Anyone who knows good heavy metal likes Iron Maiden. Scratch that. Anyone who knows good heavy metal loves Iron Maiden. Emerging at the forefront of what came to be known as the New Wave of British Heavy Metal, Maiden released a string of classic albums in the ’80s: Piece of Mind (1983), Powerslave (1984), Somewhere in Time (1986) and Seventh Son of a Seventh Son (1988).

In The Illusionist, a magician named Eisenheim (Norton), who can perform tricks such as growing an orange tree in a matter of seconds and conjuring up the dead, has become famous in early 20th century Vienna. At a performance, he brings a volunteer from the audience on stage with him, and recognizes her as his childhood sweetheart, a duchess named Sophie (Jessica Biel). The two start to meet in private and fall in love again.

However, like most bands of their generation, the seemingly untouchable Iron Maiden suffered from a creative slump in the ’90s. The X-Factor (1995) and Virtual XI (1998) were nothing compared to the band’s prestigious back catalogue. Honestly, Virtual XI is probably one of the worst heavy metal albums of all time. Bayley was no Bruce Dickinson, and main songwriter/bassist Steve Harris seemed to have lost inspiration.

The reason for the brief history lesson is this: in order to fully appreciate the new Iron Maiden album, A Matter of Life and Death, one needs to have a general overview of the band’s storied career of extreme creative highs and lows.

When Smith and Dickinson returned for 2000’s Brave New World (probably one of my favorite Maiden albums), the band, rejuvenated and playing with more energy than most bands half its age, seemed to be entering a new golden age. 2003’s Dance of Death only solidified this notion. Both of these records saw Maiden doing what it does best, penning twin guitar harmony-laden epics as well as shorter, driving songs with fist-pumping choruses. Iron Maiden had returned triumphantly to the fold.

This brings us to A Matter of Life and Death. Upon first listen, I had mixed feelings. There wasn’t one song on the album that I would’ve called weak, yet some of the songs tended to drag on.

Then I listened to it again and was blown away. For some reason, the album clicked in a way that, given my lackluster first impression, left me somewhat bewildered. A Matter of Life and Death is the archetypical example of an album that gets better with time. I’ve been listening to it non-stop for the past week, and I notice something new each time. Because of this, I find it extremely difficult to pick a favorite song as it changes with each listen. Currently, my favorite tracks include “For the Greater Good of God,” “Brighter Than a Thousand Suns” and the nine-minute plus “The Legacy.”

“For the Greater Good of God” has arguably the most memorable guitar sections on the album, as the triple guitar attack of Dave Murray, Adrian Smith and Janick Gers weave guitar harmonies underneath what could be Dickinson’s most powerful vocal performance on the album. Dickinson, in particular, sings with such conviction and power on this track, and on the rest of the album for that matter, that I found myself staring at the speakers on my stereo, as if I couldn’t believe what I was hearing.

“Brighter Than a Thousand Suns” features a gritty and grinding main riff, as well as some soothing, clean guitar sections that fit together perfectly, giving the song a very dark (for Maiden) feel. “The Legacy,” meanwhile, is a truly powerful closing epic in the tradition of such classics as “Hallowed Be Thy Name” and “Rime of the Ancient Mariner.”

All in all, given time, A Matter of Life and Death could grow to be a favorite Iron Maiden record. By crafting an album that is medium-paced and filled with lengthier arrangements, the band has created a record for true Iron Maiden fans. A Matter of Life and Death will be a more rewarding listen for those whose knowledge of the band goes beyond a few song titles on The Number of the Beast. Those looking for songs in the vein of “The Trooper” or “Run to the Hills” will be initially disappointed, but once they accept the record for what it is, A Matter of Life and Death will start to shine. Although it is far from another Powerslave, it is also a far cry from Virtual XI. It is an extremely well-written album in its own right.

manningg1@lasalle.edu