Iron Maiden's 'Senjutsu' - Album Review

There are few bands in the world, from any genre, that command the respect that Iron Maiden do. While Metallica are probably the biggest metal band going, Iron Maiden are certainly not far behind - and their overall influence and legacy is undeniable. Ever since the band released their self-titled debut album in 1980 they have been setting trends, and have had an influence (either directly or indirectly) on the vast majority of metal bands to have followed. From spearheading the NWOBHM movement during the early 1980s, through superstardom of the rest of the 1980s and the relative lows of the 1990s, to the band's current position as one of metal's elder statesmen, Iron Maiden have taken every leg of their career in their stride - and they deserve their position as one of the most-respected bands in the world. It helps that the band have remained creative throughout their veteran years too. With so many older bands happy to rest on their laurels and trot out near-identical greatest hits sets year on year, Iron Maiden have kept releasing quality albums. Since the band's current line-up was cemented in 1999, Iron Maiden have now released six albums - which on the whole have added positively to the band's legacy. While some bands have been more prolific, there are far more that could only dream of matching such an output. It is certainly true that the band's most recent albums can be somewhat divisive, but for the me there have been more recent highs than there have been lows. 2000's Brave New World is one of my favourite Iron Maiden albums of all time, and every album that has followed since has had its share of excellent songs - even if some self-editing would have been beneficial at times. Even the band's longest studio album to date, 2015's The Book of Souls (which I reviewed here), had its share of quality - although its 90-plus minute runtime means that I do not revisit it too often. Iron Maiden are clearly not subscribers to the 'less is more' philosophy, and in fairness this has sometimes served them well. All of the band's recent albums have sold well and received critical acclaim, and this has not changed with the release of the band's sixth album by the band's current line-up, and seventeenth overall, Senjutsu. Senjutsu, which roughly translates from Japanese as 'tactics and strategy', is the band's second double studio album - although it is about ten minutes shorter than the mammoth The Book of Souls. Despite its relative svelteness, there is still a lot of music to digest and its overall length (as well as the album's overall structure) is its biggest downside. That is not to say that everything on Senjutsu is business as usual however, as there are a few interesting moments that change things up somewhat - including the presence of a darker atmosphere throughout a good portion of the album which recalls the band's 1990s output at times. The production, courtesy of long-time associate Kevin Shirley, is once again very organic and 'live sounding' in style, which has its pros and cons, but the overall sound is very similar to what Iron Maiden fans have come to expect of late. The album does sound a bit muddier than usual however, which is another overall drawback for me. There is a lot about Senjutsu to enjoy, but it is probably the first album of the band's recent run where I find myself actively agreeing with some of the common criticisms that are levelled at Iron Maiden in the 21st Century. 

The album's opening title track, written by guitarist Adrian Smith and bassist Steve Harris, is one that really showcases the aforementioned darkness that permeates the album. The song forgoes the band's usual galloping, riff-based approach for a more atmospheric sound - which sets the tone for much of what is to come. Nicko McBrain's off-kilter drumming and some dense keyboards open the song, but it is not long before the guitars kick in. Rather than the song really taking off with the introduction of the guitars however, they instead lay down a slow-paced chug; which fit perfectly alongside McBrain's grooves. The song never really takes off in a traditional sense, and it instead it settles for a meandering, creepy atmosphere throughout. Iron Maiden have not really gone for a sound like this very often, with the closest example that springs to mind being Sign of the Cross from 1995's The X Factor. Frontman Bruce Dickinson, who's voice is certainly deeper than it was, even on The Book of Souls, sounds great throughout - with his lower register delivery perfectly complimenting the song's slow pace and keyboard-heavy atmosphere. Occasional cutting guitar leads add some screaming melody to the song, but on the whole Senjutsu is a piece that is happy to let its atmosphere do the talking. For those scared that Iron Maiden had decided to totally change their sound, Stratego will serve to put those fears to bed - even if its energy is one of the few genuine examples of pace on the album. The single, co-written by the enigmatic guitarist Janick Gers, is much more upbeat that the album's opening number - and it is quite similar in overall style to some of the punchier numbers found on the band's other recent albums. McBrain's trademark drumming style propels the song from the off, and there is a real energy throughout - which hits harder due to the previous song's reliance on atmosphere over riffs. Stratego is a real ear worm too, as its chorus is one that really sticks in the brain - and the guitar leads throughout the verses are also full of hooks. Dickinson sounds quite strained these days when he goes to hit the higher notes, but he still sounds better than some of his peers. He is a little buried in the mix throughout the song however, particularly during the verses; and I wonder if this was a slightly deliberate tactic to help mask his aging tones somewhat. While this could be the case, it is more likely a by-product of the album's more live-sounding production style - which has been a feature of the band's more recent albums, much to the chagrin of some of their fans. Sometimes this style works and sometimes it does not, and there are times throughout the album where the overall mix lets it down - and Stratego's verses are some of those moments.

Lead single The Writing on the Wall follows. The mid-paced riff-based track divided fans when it was released, but I liked it from the off. Lots of fans were acting like the band had not made use of folky, Thin Lizzy-esque guitar leads previously - and that somehow The Writing on the Wall was something radically different for the band. For me, however, the song is typical of what Iron Maiden have always done. The folky nature of the song's main riff may be more prominent than usual, but the melody is classic Iron Maiden, and the chorus showcases some heroic vocals from Dickinson - who sounds powerful despite still sounding somewhat strained. There is a lot of excellent guitar playing throughout the song, with variations of the main riff popping up all over the place - while a lengthy, melodic guitar solo recalls the sound of the band's 1980s heyday. It is after these three strong opening numbers, however, that the quality takes a dip with the lengthy Lost in a Lost World. It is the first of four songs on the album that Harris has penned alone, and it is the only one of the four that clocks in at under 10 minutes (although only just). In my opinion, the album did not need four lengthy songs like this - and structurally they are all quite similar. All open and close slowly and atmospherically, with acoustic guitars, keyboards, and bass chords, and all plod along in a mid-paced manner. Sometimes this style works, as I will discuss later, but other times it does not. For me, Lost in a Lost World is one of the album's weakest numbers. There are few memorable riffs throughout the song's lengthy duration, and the handful of melodic guitar leads featured are sadly short-lived. Dickinson also sounds his weakest throughout, particularly during the choruses. He does not seem comfortable trying to hit the higher notes, and as such he sounds quite weedy - which is certainly not a word I would have used to describe him in the past. It is a shame, but age will catch up with us all one day! When he sings in his low and mid ranges he still sounds great however. He actually sounds at his best when singing the song's low-key outro - which is probably the best moment of the song overall for me due to its memorable vocal melodies and dark atmosphere. Following the bloat of Lost in a Lost World, an injection of pace is necessary and thankfully Days of Future Past turns up to provide one. The song is the album's shortest cut, clocking in at just over four minutes, and its hard-hitting style is certainly welcome. As much as I do like some of the band's longer songs, I do wish that they would write more shorter songs that have the punch of Days of Future Past. The song's chorus is majestic and soaring, with Dickinson still sounding great despite his aging voice, while the riffing throughout is in-your-face and weighty. It is a song that makes the most of the band's three guitarists, with plenty of rhythms constantly present to back up Dickinson and the numerous short bursts of lead guitar. It is the sort of song that is sure to go down well live on the band's next tour - and it provides a welcome change of pace in the context of the album's overall murk.

The Time Machine is another relatively lengthy piece, but it is a big step up from Lost in a Lost World. Some of the haunting atmosphere from the album's title track returns, but it is woven into the band's trademark sound. This mix works well, and the fact that the guitar playing throughout is really interesting helps to keep the song moving. As much as Gers is criticised by sections of the band's fanbase for his on-stage antics and his chaotic guitar playing style, for me he is one of the band's most consistent songwriters in the modern age. I love most of the songs that he has written for the band, and The Time Machine is a great example of his songwriting partnership with Harris. His songs always have more going on from a guitar perspective, and there are lots of excellent riffs and melodies throughout The Time Machine that help it to stand out. There are a few left-field turns throughout that help to keep the song interesting, as well as a couple of noisy moments that could only have come from Gers' fingers. It is a winner as a result, and one of my favourites on the album. Darkest Hour is another more atmospheric piece, but this time it takes more of a ballad-esque route - and the less cluttered arrangement makes it something of vocal showcase for Dickinson. I have criticised him at times in this review, but still possesses a powerful voice. He sounds great when he sings in a range that is comfortable for him, and Darkest Hour allows him to use his powerful mid-register to his advantage. It helps that the song is one of the three on the album that he co-wrote. This allowed him to write to his strengths, in a way that I am not sure that the other band members have always mastered on this album. There is no straining at all from him here, and the song is all the better for it. Dickinson's performance, combined with one of the album's best guitar solos, makes the song another standout cut. The album's final three numbers are the other three aforementioned Harris-penned songs - all of which are over 10 minutes in length. This can make the album's closing half an hour something of a slog, and from where my main criticisms of the album stem. The first of the three, Death of the Celts, is the easily the strongest of the bunch. All of my issues with Lost in a Lost World have essentially been fixed here, despite the two songs having a similar structure, and there are lots of memorable moments throughout. The slow-paced opening is more energetic than usual, and once the guitars and drums kick in the song has a bit more of a bite to it. This helps the energy to be sustained throughout, but another reason that the song shines is because it actually makes use of its length. Some of Iron Maiden's longer songs do not have the ideas to fill them, but Death of the Celts does. There are lots of twists and turns throughout, and it does not rely on one riff or melody endlessly. Modern Iron Maiden has often been called progressive, but to me a long song is not automatically progressive if its length is derived from a lot of repetition and padding. Death of the Celts, however, sounds truly progressive to me, as there are a lot of strong ideas throughout - and the instrumentation is dynamic and varied, which leads to the creation of a lot of memorable hooks. The song flies by as a result, and it is another highlight.

The Parchment is another more atmospheric piece, and it again harks back to the darkness of The X Factor. There are definitely similarities to the Blaze Bayley era throughout the song, and I wonder if it would have sounded better sung in Bayley's deep baritone. That being said, however, the song is still enjoyable. There are Eastern-esque melodies throughout, and the swirling keyboards add quite a lot of depth to the song. There are hints of Led Zeppelin's Kashmir throughout, although the overall crawling pace and the regular guitar breaks root the song firmly in Iron Maiden's wheelhouse. The song is not as varied as Death of the Celts, but atmospherically it works nicely. If there is one word that sums up this album, then atmospheric could be it. There are more synths and keyboards used here than on any other Iron Maiden album which has its pros and cons. I can see what the band were going for, and sometimes it works well, but not every song needs to be an epic. The Parchment works well as a dark, meandering piece; but there are few hooks throughout which, for me, stops it from being one of the album's stronger cuts. Something similar can be said about the closing number Hell on Earth, but it is harmed by being the third very similar song in a row. By the time Hell on Earth opens with yet another slow bass melody and keyboard backing the fatigue has set in. Any one of the three closing songs when heard in isolation will sound strong, but hearing all three back-to-back only serves to harm them. It just shows how structurally similar that they are, and it makes me wish that Iron Maiden would work with a producer that had the courage to tell Harris to rein it in sometimes. Despite The Book of Souls being a longer album, Senjutsu feels more egregiously bloated by having songs that are long for the sake of it. Songs can be long and be great, as Iron Maiden have proved numerous times in the past, but the last half an hour of Senjutsu shows why some restraint is sometimes needed. The irony here is that Hell on Earth is not even a bad song. There is more energy here than throughout the previous two songs, but it suffers from a 'been there, done that' vibe. The guitar playing throughout is excellent, but it is a shame that by this point a lot of people will have either turned the album off or their mind will be wandering. My mind certainly wanders during the album's closing half an hour, which to me shows that the overall structure of the album does not work to serve its songs. As such, Senjutsu is a bit of a puzzling album. On the one hand I really like a lot of the songs here and there are a few moments that sound like the band has made an effort to try something new. When it is at its best, the album shines - with songs like Stratego, The Time Machine, and Darkest Hour being modern classics. What lets the album down for me however is the bloat, and Harris' pseudo-progressive songwriting that rehashes old ideas which he then hits you with back-to-back. The album did not need to be as long as it is, and it certainly could have been structured better to make the ending less of a slog. It feels like more of a slog than The Book of Souls, which is a longer album, and that goes to show that structure and overall dynamics are key - and the lack of both lets Senjutsu down despite some excellent songs.

The album was released on 3rd September 2021 via Parlophone Records. Below is the band's promotional video for The Writing on the Wall.