Iron Maiden, the titans of heavy metal, have a storied career marked by peaks and valleys. It’s almost become a cliché to herald each new Iron Maiden album as a masterpiece while simultaneously criticizing its predecessor, only to have that “masterpiece” later become the target of similar critiques. Following this well-trodden path, 2003’s Dance of Death arrived as a supposed improvement over 2000’s Brave New World. However, was Dance of Death truly a dance towards a new era for Iron Maiden, or did it stumble in its steps?
Brave New World, while anticipated, felt neither groundbreaking nor particularly fresh. Its longer tracks often meandered, losing focus, and the shorter compositions lacked impact. Interestingly, Dance of Death finds its strengths in the shorter, more concise songs. “New Frontier,” a surprising songwriting contribution from drummer Nicko McBrain, injects a vibrant energy into the album. It’s a genuinely catchy and hard-rocking track, arguably the closest to classic Iron Maiden’s signature sound in their more recent output. Tracks like “Age of Innocence” hint at hit single potential, though perhaps buried beneath excessive length that could benefit from trimming. “Wildest Dreams” and “Rainmaker” offer dependable mid-tempo anthems, built upon familiar big choruses and intricate guitar work. In contrast, “Montsegur” boldly embraces pure heaviness and succeeds admirably, showcasing a welcome intensity. The increased songwriting involvement of guitarists Dave Murray and Janick Gers is a definite positive. They consistently prove to be among the band’s most forward-thinking members, with their contributions growing stronger with each album.
However, the longer tracks on Dance of Death reveal a weariness. “No More Lies” feels like Steve Harris operating on autopilot, relying on familiar structures without injecting genuine inspiration. Similarly, “Paschendale,” while ambitious in its historical narrative, suffers from Adrian Smith seemingly borrowing Harris’s autopilot mode. Both tracks become somewhat introspective and sluggish, burdened by lyrics that often feel forced, with awkward rhymes or a lack thereof. Even the guitar solos, typically a highlight of Iron Maiden’s music, lack their usual spark and inventiveness in these longer pieces. The title track, “Dance of Death,” is perhaps the most problematic. At eight and a half minutes, it descends into tedium and clichés, punctuated by bizarre, out-of-place musical interjections that unintentionally undermine the song’s intended dark and dramatic atmosphere. It’s an experiment that misses the mark. “Journeyman,” the album closer, fares somewhat better, continuing the Jethro Tull-esque acoustic explorations initiated on Brave New World. Yet, even this track feels like it’s lagging behind the true brilliance of Iron Maiden’s best work.
Despite its shortcomings, Dance of Death does suggest a band trying to evolve. For the first time in a decade, there’s a sense that Iron Maiden was attempting to push their boundaries and move forward, even if the execution was uneven. While Dance of Death may not be a flawless album, it captures a moment of transition for Iron Maiden, a band grappling with its legacy while searching for new creative avenues.
