Iron Maiden’s 2003 album, Dance of Death, arrived with the weight of expectation, a familiar narrative in the band’s storied career. Following the predictable cycle of praising the new while critiquing the old, Dance of Death was immediately positioned as an improvement over its predecessor, 2000’s Brave New World. But does Dance of Death truly warrant the accolades, and how does it stand as part of the Iron Maiden legacy? This review delves into the album’s tracks, exploring its highs and lows, and examining its place within the broader context of Iron Maiden’s discography.
One of the immediate surprises of Dance of Death is the strength found in its shorter compositions. Contrary to Brave New World, where longer tracks often meandered and shorter ones fell flat, Dance of Death sees the band excel in more concise formats. “New Frontier,” a notable contribution from drummer Nicko McBrain, stands out as a hard-rocking, melodic track, echoing classic Iron Maiden elements more closely than much of their recent work. Similarly, “Age of Innocence” hints at hit single potential, suggesting focused songwriting and catchy hooks, even if slightly overextended. Tracks like “Wildest Dreams” and “Rainmaker” occupy a comfortable mid-tempo space, built upon familiar Maiden structures of big choruses and intricate guitar work. In contrast, “Montsegur” delivers a powerful dose of pure heaviness, showcasing a different facet of the band’s musical palette and demonstrating successful experimentation within their established sound. The increased songwriting contributions from guitarists Dave Murray and Janick Gers are particularly noteworthy, injecting fresh perspectives and a forward-thinking approach that benefits the album’s overall dynamism.
However, Dance of Death is not without its drawbacks, primarily manifesting in its longer, more ambitious tracks. “No More Lies” is critiqued as a formulaic Steve Harris composition, lacking the spark and innovation expected from such a seasoned songwriter. “Paschendale,” penned by Adrian Smith, suffers a similar fate, described as an introspective and sluggish piece that fails to captivate, even with its extended runtime. The lyrical content of these longer tracks is also highlighted as a weakness, with criticisms leveled at both uninspired rhymes and awkward phrasing. Even the guitar solos, typically a highlight of Iron Maiden’s music, are described as lacking imagination in these instances.
The album’s title track, “Dance of Death,” emerges as a significant point of contention. At over eight minutes, it’s described as a tedious and cliché-ridden experience, marred by what are referred to as ill-conceived “Riverdance impressions.” This jarring element is seen as actively undermining the intended dark and atmospheric mood of the song, rendering it different, but negatively so. Closing track “Journeyman” is considered more successful, continuing the Jethro Tull-esque explorations initiated on Brave New World. Yet, despite its relative merits, it still falls short of Iron Maiden’s benchmark achievements.
Despite these criticisms, the overall sentiment is one of progress. Dance of Death, while flawed, is perceived as a step forward for Iron Maiden, signaling a renewed sense of direction after a decade of perceived stagnation. The album showcases both the band’s enduring strengths and their willingness to experiment, even if those experiments don’t always fully succeed. While Dance of Death may not stand as Iron Maiden’s definitive masterpiece, it represents a notable chapter in their ongoing evolution, offering moments of brilliance alongside areas for improvement.
