Iron Maiden, a name synonymous with heavy metal grandeur, often finds itself in a cyclical pattern of critical acclaim followed by inevitable backlash. In what has become something of a tradition, each new Maiden album is lauded as a masterpiece, only for its predecessor – once equally praised – to be retrospectively criticized. Following this established rhythm, Dance of Death emerges as a supposed improvement over 2000’s Brave New World. However, was Brave New World truly lacking, and does Dance of Death genuinely represent a significant leap forward for the metal titans?
While Brave New World was touted as a bold return, it often felt neither brave nor particularly new. Its extended tracks meandered, and the shorter compositions failed to ignite. Ironically, Dance of Death finds its strength in brevity. ‘New Frontier’, an unexpected gem penned by drummer Nicko McBrain, injects a burst of classic Iron Maiden energy. Melodic and hard-rocking, it’s a track that resonates with the band’s vintage sound more than anything they’ve produced in recent years. ‘Age of Innocence’ hints at hit single potential, buried within a slightly overlong arrangement that could benefit from tighter editing. Tracks like ‘Wildest Dreams’ and ‘Rainmaker’ are quintessential mid-tempo Maiden anthems, built upon soaring choruses and intricate guitar work, satisfying the expected formula. In contrast, ‘Montsegur’ opts for a heavier, more direct approach, and succeeds admirably in delivering a powerful sonic punch. The increased songwriting contributions from guitarists Dave Murray and Janick Gers are a welcome development. Their forward-thinking approach injects fresh ideas and consistently elevates the material.
However, the longer tracks on Dance of Death reveal a weariness that undermines the album’s overall impact. ‘No More Lies’ feels like Steve Harris operating on autopilot, rehashing familiar structures and lyrical themes. Similarly, ‘Paschendale’, while penned by Adrian Smith, suffers from a similar sense of stagnation, as if borrowing Harris’s well-worn template. Both tracks are introspective and slow-paced, burdened by lyrics that oscillate between clumsy rhymes and uninspired phrasing. Even the guitar solos, typically a highlight of Iron Maiden’s music, lack their usual spark and inventiveness. The most significant misstep is the title track, ‘Dance of Death’ itself. At eight and a half minutes, it descends into a tedious and cliché-ridden sprawl, punctuated by ill-conceived Riverdance-esque instrumental breaks that jarringly disrupt any sense of dark atmosphere the song attempts to create. It’s an experiment in different directions, but one that ultimately falters. ‘Journeyman’, the album closer, proves more successful. Continuing the Jethro Tull-inspired explorations initiated on Brave New World, it represents a more refined approach to progressive elements, yet still falls short of Maiden’s established classics.
Despite its flaws, Dance of Death offers a glimmer of hope. For the first time in a decade, there’s a palpable sense that Iron Maiden is attempting to push beyond their comfort zone and move forward creatively. While not a flawless album, it suggests a band willing to experiment and evolve, even if the results are mixed.
