Iron Maiden: Senjutsu – The Rue Morgue Records Review

By John Raptis

IRON MAIDEN
Senjutsu

RELEASE DATE: September 3, 2021
PRODUCERS: Kevin Shirley, Steve Harris
RECORDED: Guillaume Tell Studios

Trackllisting:

Senjutsu (Smith, Harris) 8:20
Stratego (Gers, Harris) 5:00
The Writing On The Wall (Smith, Dickinson) 6:14
Lost In A Lost World (Harris) 9:32
Days Of Future Past (Smith, Dickinson) 4:04
The Time Machine (Gers, Harris) 7:09
Darkest Hour (Smith, Dickinson) 7:20
Death Of The Celts (Harris) 10:20
The Parchment (Harris) 12:39
Hell On Earth (Harris) 11:19

It was a pleasant surprise to hear of a brand new Iron Maiden release several months ago. One can never question the band’s work ethic and the vast majority of their fanbase I don’t think was ever expecting to hear new music from these legends. Most thought the days of new music were now probably gone from the Maiden trajectory.

Unlike most bands of their ilk and generation, Iron Maiden are not an act to rest on their greatest hits laurels and they need to be commended for having the balls to go into the studio and create and record new music.

When the first single – The Writing On The Wall – was released several weeks ago, I only gave it some fleeting interest as I wanted to digest the album as a whole. So I kept away from teasers and any press the band was giving. What I did come away from on the cautionary listen was that the song had a different feel to it than usual Iron Maiden standard fare. Hmm, could be a good sign although I didn’t really think too much of that first released track. That’s ok, as I said, I didn’t really give it a solid listen.

Visually, we now see the legend of Eddie explore some new territory. Eddie and the basic thematic feel for the visuals is entrenched in Samurai Japan. Although not 100% new for the old Edmaster, he can be seen brandishing a samurai sword on the cover of the 1981 Maiden Japan EP. The cover to Senjutsu looked a little naff in small form online but when you see it in all it’s hi-res glory, it does look rather impressive! Not Derek Riggs impressive, but pretty damn cool nonetheless. Still, I think the image below would have made one helluva front and back cover of the album with obligatory red and white Iron Maiden logo up top. Oh hell yeah!

Ok, not gonna lie to you here. I originally wrote a quick review of the album after a very, very brief first listen. I wasn’t fully concentrating and probably not in the frame of mind to sit and truly listen to a piece of work. The review was harsh, immature and albeit, very wrong. I have now spent a couple of days with the record and listened to it intently from start to finish. Quite a challenge to do when there are songs that hit and surpass the 10 minute mark! It’s like sitting through Rime Of The Ancient Mariner on repeat 5-6 times!

I’m not a fan of Kevin Shirley’s production. Haven’t been for a few albums he has done with Maiden. For a grandiose record like this, I just feel the mix is all wrong and so raw in places that mistakes are creeping through. I just don’t like where he takes things in the mix – but a listen through headphones and it all sounded so much better. Less brick-walled and cleaner. Let’s see what the vinyl will sound like through some high-end gear when I get my hands on it but for now, I truly feel the mix could have been so much better. Having said that, production credits are shared by the aforementioned Shirley and Steve Harris.

As stated, the songs are long. That’s fine. I don’t mind these lengthy escapades and on deeper listen, boy are there some magical moments through.

Honour our dead so they never fought in vain

Bruce is sounding pretty majestic for a man of his age and in some of the quieter moments, his vocals just shine on through. Some beautiful guitar and vocal harmonies permeate through opening track Senjutsu. Driven hard by some impressive tom-tom work by Nicko McBrain who drives the rhythm hard throughout the track. Guitarist get to shine on this track through trading lead breaks in old-school Maiden style. Senjutsu sets the pace nicely and drives the opening of the album superbly. Again, Dickinson is in fine, fine form throughout tailing off whilst another tasteful guitar solo takes things away.

The old familiar Maiden gallop kicks into gear with Stratego and the track plods along as if on horseback throughout. Hey, not a bad thing! Iron Maiden do this so well and this song just reeks of classic Maiden.

Lead single The Writing On The Wall is next and this one has a bit of different vibe for Maiden. Written by Adrian Smith and Bruce Dickinson, I felt that the lyrics were a little too busy throughout and sounds as if Dickinson is trying to play catch up as their is just so much verse happening. Catchy chorus, cool tune but all in all, my least favourite track on the record. Easily.

The beautiful Lost In A Lost World continues and is a sombre ballad with great vocals by Dickinson over subtle guitar strums from the six-stringers over a layer of a heavy keyboard laying the foundation for the track. That’s the first few minutes sorted… the track then proceeds to a typical staccato Iron Maiden plod but never gets dull or boring. There are time changes throughout giving it all such a Prog flavour. Dunno if this has been done intentionally but it sounds great and works! Again, I’m really digging the guitar harmonies throughout as the song dances between traditional folk-like melodies before the attack of Harris kicks things into a higher gear. It trades off like this for a while before breaking into lengthier lead-breaks and solo spots. It rocks hard but again, it takes us back to a mellower finish with interesting vocal work by Bruce as he sings over tranquil bass and guitar work by the rest of the troop. So damn cool!

Days Of Future Past continues and stands a pretty typical latter Iron Maiden song. It works in the context of the Senjutsu album but as a standalone track, there’s nothing too outstanding happening here. Some nice Adrian Smith guitar work on the solo. It is the shortest track on the album so here’s hoping the don’t have this earmarked as a second single or something.

Finishing off the first half of the album The Time Machine is a slow, shuffling tune with some nice guitar and vocal harmonies trading off each other. Midway through said time machine takes on and old familiar gallop with some nice Gers guitar work before again taking a turn and some classic Murray/Smith double lead work soars through and again the track finishes off quietly as it began. Great song!

And forty minutes later… we come to the halfway point of this opus. Intermission if you will because from this point on, our journey becomes longer, grandiose and the point where the album really grabs hold of you.

Senjutsu now enters some stunning moments with the incredible second side opener, Darkest Hour. Penned by Smith and Dickinson this is one bone fide classic slab of Iron Maiden. Brooding, sombre and sinister as it builds to some incredible moments. Oh God, it is an epic track with a Hallowed Be Thy Name vibe throughout.

”Here I stand in a serenade of glory, naked by the throne of kings…”

A superb Adrian Smith solo just glides on through and takes you on a magical musical experience before melting into a forthcoming Dave Murray take over. Iron Maiden at their absolute finest. Best Maiden track in a long, long while.

The Steve Harris Trilogy begins…

The last three songs of the opus are all Steve Harris penned affairs. Every single one of them over 10 minutes in length each.

Stunning bass work on the intro of Death Of The Celts. You just know this is gonna be a war-cry call to arms warring anthem and it does not let you down. Some real old-school Maiden instrumental breaks that drive the song and could have sat comfortably on Piece Of Mind or Powerslave. Freaking vintage Steve Harris! The track then drifts off into some killer lead guitar back and forth between Murray, Smith and Gers and I do mean killer. Clansmen Part 2 anyone?

One major letdown of the album, the over use of the keyboards underlying nearly every single track is a little overkill. Sure some songs do benefit with the richer sound, but come on lads, three guitarists should be able to cover this better than repetitive keyboard underlays.

Having said that, I love what the keys are doing throughout The Parchment. Here they work well and give the song a little bit more depth. Another strong track which just reinforces how killer the second half of the album is. It is hard to critique if you just surrender yourself and the melodies it offers. Again, the guitars shine with a steady, no frills no nonsense approach by McBrain’s drumming. This is the best I have heard Nicko play since the classic Piece Of Mind era.

Phew! Still with me?

Hell On Earth a fine closer with your typical Steve Harris bass plucking driving the song forward underneath delicate guitar from the trio as the foundation is laid for what is to come. Could it have been edited somewhat? Sure but just go with it, it is gonna take you to some enjoyable Iron Maiden nuances with strong vocal/guitar harmonies. The gallop is back and takes the listener on a closing crescendo of a long Maiden journey.

And a journey it is. Albeit a very enjoyable one. I hated this record. Then I loved it. And I feel with even more time together, and it is going to get more of my undivided attention, we have one of Maiden’s best records since the glory days of the 80’s.

Five stars boys and girls!