ALBUM REVIEW: Exodus, “Persona Non Grata"

By: Richard Maw
 
Album Type: Full Length
Date Released: 19/11/2021
Label: Nuclear Blast

“Persona Non Grata” CD//DD//LP track listing:
 
 1. Persona Non Grata
 2. R.E.M.F.
 3. Slipping Into Madness
 4. Elitist
 5. Prescribing Horror
 6. The Beatings Will Continue (Until Morale Improves)
 7. The Years Of Death And Dying
 8. Clickbait
09. Cosa Del Pantano
10. Lunatic-Liar-Lord
11. The Fires Of Division
12. Antiseed
 
 
The Review
 
Exodus are back. Gary Holt is back in the fold full time and the rest of the band are present- with Steve “Zetro” Souza still at the mic. Tom Hunting laid down his drum parts before his battle with cancer (get well soon) while Lee Altus and Jack Gibson round out the line-up.
 
I've never made a secret of the fat that I favour Rob Dukes as THE Exodus front man, but no one (including me) can deny that “Zetro” has a fine voice for thrash and is viewed by most as the definitive Exodus vocalist. “Blood in Blood Out” was a fine reunion record, but a little front loaded and missing some of the spite of the Dukes years. 
 
“Persona Non Grata” comes after several years of Holt moonlighting with Slayer and a global pandemic. You'd expect, then, that the creative juices would be well and truly flowing as the band members focus on Exodus (and Heathen) full time.
 
The title track is up first and is a speedy thrasher- but it is too long. Much like some of the Dukes era material, it needed editing. It's vicious and speedy but it does, well, go on... “R.E.M.F” and “Slipping Into Madness” are more concise and thus more effective, with the latter being a convincing addiction tale that you can't help feel might be hitting close to home for a few or all of those playing it.
 
Exodus slow things down occasionally, too. “Prescribing Horror” is an example- and an effective one.  The advance track “The Beatings Will Continue (Until Morale Improves)” is simply vintage Exodus; a short, sharp cut that is made for the pit. It's magnificent, prescient in theme and has everything great about the band in three minutes.
 
As the album progresses, it takes shape. This is similar in approach to “Blood In, Blood Out”. It's occasionally speedy, always aggressive but its bark is a little stronger than its bite on some tracks. There is a lot of fairly mid-paced material over the course of the hour long playing time which is not something that the band necessarily excel at. Much like Iron Maiden, Metallica and some of the other classic thrash acts (even my beloved Overkill): editing is needed. Some tracks could say what they have to say in less playing time and also there is nothing wrong with delivering the best ten tracks rather than stretching material a little thin over twelve tracks.
 
It's churlish, but sometimes less music really is better than more. Exodus are better on razor sharp songs like “Clickbait” than they are on the blunt force of “The Years of Death and Dying”. It makes the album a little frustrating as my attention wandered a little from track to track- even if the production, lead work and performances are all great. There is a cool instrumental in the form of “Cosa Del Pantano” and it is a welcome detour into a different sonic sphere prior to the lengthy but effective “Lunatic Liar Lord”- which is as heavy as lead  and benefits from the thrashy pacing- and classic Exodus time changes. It's an example of the band doing an epic thrash track well but it loses momentum through the middle and outro sections.
 
“Persona Non Grata” is available HERE
  

Band info: facebook

ALBUM REVIEW: Overkill, "The Atlantic Years 1986 - 1994"

By: Richard Maw
 
Album Type: Boxset
Date Released: 03/12/2021
Label: BMG

The Review:
 
 
There are no less than six albums by Overkill collected in this lavish package. Vinyl, download or CD; the choice is yours... I've actually forked out for the vinyl release, but as it is not due for delivery until December these MP3 files serve as a nice taster of what I'm getting. These six albums represent the start of Overkill's career- and cover what many would assume to be the band's golden years through the peak of thrash metal and beyond. However, it does NOT include the Megaforce classic debut, “Feel The Fire”. That album is readily available in multiple re-issue vinyl versions, but it does feel like an opportunity missed... even if the title does specify their major label days only.
 
For fans and collectors, this box set is still a must. It has several vinyl re-presses which are very hard to get hold of; “Years of Decay”, “Horrorscope”, “I Hear Black” and “W.F.O.” The fact that many fans may own one or more of these and probably have some kind of copy of “Taking Over” and “Under The Influence” is neither here nor there, really. If you want the rest of the albums you are missing, then you buy the lot. It is also interesting to note that CD issues of “Taking Over” are like hens teeth- and expensive. So... there are pros for both the vinyl and CD sets.
 
I cannot comment on the presentation here; I only have the MP3s, but I HOPE that the vinyl reissues come with original sleeves in a box set; only time will tell. Of the music, well, it's no secret to regular readers of my reviews that I rate Overkill highly. Very highly. As in, I think they are the best thrash band EVER. At the least, they are certainly the most consistent and have had the most longevity. Their extensive and impressive catalogue knocks all other band's efforts into a neatly cocked hat. Yes, yes, Overkill may not have a “Reign In Blood” or a “Master of Puppets” to their name, but both those bands had less than a decade at the top of their game. Overkill have been consistently good (and even great) since 1985.
 
Of the albums, there is a great deal that can be said. “Taking Over” is a firm fan favourite, features ludicrous cover art (guns aimed at the camera, biceps bulging, lurid colours jumping out at you...) and a solid collection of songs; including a few Overkill classics. Strangely it is not one of my favourite albums of theirs. Yes, it has “Deny The Cross”, “Wrecking Crew”, “Fatal If Swallowed”, “Power Surge” and “In Union We Stand” but it doesn't quite reach the heights of the debut for me. It's a powerful thrash album from the genre's golden era, but it is not their best. The remastering here is good- it sounds a little clearer, a little sharper but it still, of course, sounds like an 80s thrash album done on not much of a budget.
 
“Under The Influence” has “Hell From The Gutter” and a consistent set of songs but for me is the weakest of their early albums. The production is a little weak, the drums a little too large and indistinct, the band a little subdued. It's like Overkill with the teeth and fangs filed down. From there, though, things REALLY take off.
 
“The Years of Decay”. “THE YEARS OF DECAY”. It's immense!! It had the production and the songs- the remaster makes it sound even more powerful. Terry Date produced and the sound is a dead ringer for his work, a year later, with Pantera. It's tight, muscular and clinical and it simply rips. The songs are superb. The first three tracks are simply metal perfection; “Time To Kill”, “Elimination”, “I Hate”. It's a hell of an opening. The record also contains a really doomy track- “Playing With Spiders/Skullkrusher”- that is immensely heavy and dark. You get
“Evil Never Dies” at the end as well... and the title track and so on. It's a metal classic and is widely regarded as one of the band's best. Its way underrated by those who don't know the band and it remains a high point of the golden thrash era.
“Evil Never Dies” at the end as well... and the title track and so on. It's a metal classic and is widely regarded as one of the band's best. Its way underrated by those who don't know the band and it remains a high point of the golden thrash era.
 
Incredibly, the band kept things going with 1990's “Horrorscope”. It's another classic and even if the original guitar player, Bobby Gustafson, parted ways with the band (fans still talk about this) Bobby Blitz Ellsworth and DD Verni simply recruited two guitar players to replace him and wrote a superb set of songs. Sid Falck plays his best drumming on this one. The whole album is great; clinical production (probably a little influenced by … “And Justice For All”, but with the bass left in) and a strong set of songs and overriding evil vibe make a winning combination. “Coma”, “Blood Money”, “Thanx For Nothing”, “Infectious...” all killers. Even the Edgar Winter cover (Frankenstein) rules. It's such a strong record and my favourite (even above, gasp, “Years of Decay”) of their earlier work.
 
The band thus entered the 1990s on a high and seemed to be on an unstoppable roll. However... grunge happened, the bottom fell out of the thrash market and Overkill found themselves frozen out of the Big Four and playing second fiddle to (kind of) new upstarts like Pantera. Metallica and then Megadeth simply went commercial. Testament pretty much went MIA after “Souls of Black”. Exodus were nowhere, Anthrax got buried under record company indifference. Overkill, incredibly, didn't go grunge but they did make their most leftfield album: “I Hear Black”.
 
It's the one oddity in their catalogue, but rest assured it is still metal to the core.... just with a little more Sabbath flavour. The band slowed down and introduced new drummer Tim Mallare to the fray. For me, it's one of their best albums. I've listened to it probably as much as any of their others. Some of the writing is a little undercooked- that's even admitted by the band- while the production and mix probably sounded INCREDIBLE on the studio speakers... it sounds tinny and underpowered on a regular stereo. The separation of instruments is great, the individual sounds are good, but the bass (on all instruments; guitars, drums and bass) weight is just not there. Even the remaster- which has improved it a little- can't save it. What it really needs is a full re-mix.
 
Strangely, this makes me love the album a little more; it's imperfect and the sound of a band trying to survive. “Dreaming In Colombian” is ace. The title track is heavy. “Spiritual Void” is a Sabbath style groove machine, “Weight of the World” is speedy and good quality and the album finishes strongly as well. I'm prepared to forgive misfires like “Shades of Grey” and “Undying” because the overall vibe of the albums is great. For me, “TYOD”, “Horrorscope” and “I Hear Black” represent three different aspects of the band's sound- with a common theme of dark and unsettling compositions at their core.
 
After that, only “W.F.O.” remains of their major label tenure. Again, it's quirkily produced; tinny and overly bassy (!) but it brings back the speed that “IHB” lacked. The opener “Where It Hurts” proves that thrash is back, “Fast Junkie” rams that point down your throat and from there the albums is absolutely solid. The songs are good and often really catchy. Inevitably, it sounds a little too influenced by what was big in metal at the time- in terms of production and the backing vocals- but it stands as a strong exclamation point to the band's years in the music biz big leagues.
 
I'd score all of these albums four stars or above (with the possible exception of “Under The Influence” which is a strong three for me) and a couple of them reach the full marks score level. With that being the case, why did Overkill not get much bigger?! Well, Blitz's voice is an acquired taste- shrieky and gravelly is an odd combination and it seems to me that they never got the press support that some other band's were gifted (or paid for). On the plus side, it meant that the band kept going as a relatively underground proposition with their integrity intact.
 
From here, the band weathered the turbulent mid 90s by simply going independent; indie labels, booking their own tours and keeping going. It's that blue collar work ethic that endears them to so many of their fans- me included. They'd go on to make even better albums (“IRONBOUND”!!!) and worse ones (“ReliXIV”, “Necroshine”) but they have never slipped below that three star standard. As an average, the band are running at four stars and these six albums represent a rock-solid chunk of their discography. I implore you, if you've never bothered, to check out all six records or at the very least “Years of Decay” and “Horrorscope”. This is superlative metal and utterly essential.

Band info: facebook

ALBUM REVIEW: Black Label Society, "Doom Crew Inc."

By: Richard Maw
 
Album Type: Full Length
Date Released: 26/11/2021
Label: eOne

 

“Doom Crew Inc.” CD//CS//DD//LP track listing:
 
1. Set You Free
2. Destroy & Conquer
3. You Made Me Want to Live
4. Forever and a Day
5. End of Days
6. Ruins
7. Forsaken
8. Love Reign Down
9. Gospel of Lies
10. Shelter Me
11. Gather all my Sins
12. Farewell Ballad

 

The Review:
 
BLS return after the unexpected career high point of “Grimmest Hits” a few years back. Zakk has kept personnel familiar and when pressing play on this latest offering, the question is: “will this rock or will it be a more laid back affair?!”
 
BLS have had a habit of making some fairly mediocre records in the past. Frustratingly, they can go from killer on one release to filler on the next (“Sonic Brew” to “Stronger Than  Death”, “1919 Eternal” to “Hangover Music Vol. 4”... the mid-period slump of “Mafia” and “Shot to Hell”...). It seemed that Zakk and sidemen were poised for really big things in the mid 2000s but it never quite happened. The quality just wasn't there and the image became cartoonishly macho.
 
With this in mind, I would say that the last decade has seen some excellent BLS albums. “Order Of The Black” would be one of my favourites- it rips from start to finish and slugs it out impressively with “Sonic Brew” as the definitive BLS album. “Catacombs of the Black Vatican” had its moments; it was a restrained and dark listen which only improved over time and really wormed its way into my affections. “Grimmest Hits” was superb- from start to finish it blended the best aspects of BLS; riffs, hooks, Sabbath feel, ballads and song writing.
 
“Doom Crew Inc” is apparently a kind of paen or tribute to the band's road crew, but anyone expecting a wholly raucous affair on that basis would be off the mark. Instead we get... a very good and solid album with no shortage of riffs and solos. As eOne have only furnished the mighty SLUDGELORD with a stream, it's been hard to listen to this repeatedly. However, over the course of several listens, the quality has shown through.
 
On that basis, this is closer to “Catacombs...” than it is to “Order...” so is thus perhaps a cousin to “Grimmest Hits”. The sound is thick and convincing, recorded at Zakk's Black Vatican studio you would expect nothing less. Opener and advance track “Set You Free” is fairly indicative of the record- not adrenaline inducing, but instead weighty and insistent. “Destroy & Conquer” is a quality follow up- nice feel and rhythms. From there, “You Made Me Want To Live” is the band in sombre but rocking mode.
 
Of course, this being BLS there are ballads. “Forever and a Day” is the first of these and is of course a completely competent hard rock ballad with a good vocal performance and a rather lush production.  How good is it? Well, it's a ballad- I don't think it is up there with “Blind Man” or “January Day”, but it is... fine. You know that with twelve tracks there will be more of this kind of thing, but... I sometimes wish there would be a bit less. Just cut to ten tracks of solid steel, you know?
 
That said, BLS has always made pretty varied records and it would also be true to say that each record has its own discernible identity- for better or worse. “Doom Crew Inc.” certainly has its own niche and it is to be praised for that.
 
“End of Days” is another laid back rocker- echoing much of the “Catacombs...” material. It's finely crafted but is still pretty restrained- a little too much so for my liking. At the halfway mark, it would appear what kind of album that “Doom Crew Inc.” is going to be- restrained, but well put together. “Ruins” has that Sabbath groove and is well put together with a fair bit going on. It should be noted that the overall production has more to it than the previous couple of releases by the band- vocal layering, lots of twin guitar work and a fair few changeS in each track.
 
The riff in “Forsaken” is a cracker and it uses dynamics convincingly; switching from heavy as lead to breezy and back again with ease. It's the latter half of the record which has the longest run times- BLS are no strangers to tracks of 5-6mins plus as “Sonic Brew” proved- but there is no sense of wasted time here. The solos are great throughout and each track, again, has its own identity. There are two more ballads to go through, of which “Farewell Ballad” is the better of the two. “Love Reign Down” is simply too overwrought for my tastes. Zakk at the piano and emoting is not my thing, so we move on.
 
Fortunately, we move on to “Gospel of Lies” and its beastly Sabbath-esque doom opening. It's great and a wonderful antidote to what went before. It picks up the pace, of course, but doesn't break any speed limits. It's a slow burning head nodder with, yes, a superb riff at the mid point. Those bouncy kind of shuffle guitar riffs are something that Zakk excels at (“World of Trouble” springs to mind) and it elevates the track by bringing in a  great idea and fully realising it.
 
The album enters the home straight with “Shelter Me” which again brings dynamics, mid paced tempos and some sizeable riffage. It does what other tracks on the record have done, but with not quite the same impact on the first few listens. Jeff Fab's drums sound excellent when brought forward in the mix and that is another plus point.
 
Of the remaining two tracks, “Gather All My Sins” is my pick- in fact it's one of the picks of the whole album: it rocks hard, is a straight up headbanger and pulls no punches. We are into old school BLS territory here. It's killer. The trading solos section is also an absolute winner. The aforementioned “Farwell Ballad” closes things out. It's the best ballad on the record and once again has a kitchen sink production but is nicely put together with a good intro solo section and benefits from being guitar led with some good vocals once again.
 
Overall, this is undeniably a strong BLS record and it is also one that will undoubtedly reveal hidden depths. I think this requires multiple listens to really get into and understand. I also think it is a bit of a mood piece. It's dark and a little restrained like “Catacombs...” but it has more immediate hooks and a better production than that one- which has only grown on me over time.
 
So, this is most likely a good-great BLS album; not quite top tier, but not too far off as things stand. That Zakk and co. are still around and putting out quality records is to be celebrated in itself. That the records are this good is an even bigger bonus. It's one to look forward to, get into and enjoy. I'd say it would fit in the top half of the catalogue, or thereabouts.
 
BLS have enough of a history and catalogue to warrant a favourite to least favourite list, Here's mine:
 
1.     Sonic Brew
2.     Grimmest Hits
3.     Order of the Black
4.     1919 Eternal
5.     Catacombs of the Black Vatican
6.     Doom Crew Inc.*
7.     The Blessed Hellride
8.     Stronger Than Death
9.     Mafia
10.   Hangover Music Vol IV
11.   Shot to Hell
 
*Subject to change. This might go up a place or so. It is, without doubt, better than the albums below it on the list.

“Doom Crew Inc.” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Rivers of Nihil, "The Work"

By: Richard Maw
 
Album Type: Full Length
Date Released: 24/09/2021
Label: Metal Blade Records

 
“The Work” CD//DD//LP track listing:
 
1. The Tower (Theme From “The Work”)
2. Dreaming Black Clockwork
3. Wait
4. Focus
5. Clean
6. The Void From Which No Sound Escapes
7. MORE?
8. Tower 2
9. Episode
10. Maybe One Day
11. Terrestria IV: Work
 
The Review:
 
Rivers of Nihil are certainly one of America's most interesting metal exports these days. Their last album, “Where Owls Know My Name” was positively avant garde- bringing new sounds and textures in a way not heard since perhaps Opeth or Celtic Frost to the death metal genre.
 
Indeed, the band are now quite some distance from 'death metal.' I would hazard that this is best described as progressive metal. There are death metal building blocks here and there- Adam Biggs' growl, the riffage in places, blasts etc... but, really, this is progressive fair. The album is a series of movements and soundscapes (in common with Opeth), and a mixture of clean singing and growls (ditto) but there are many touches of classic rock, prog and even industrial music in the rhythms, synths and so on.
 
The lead work is uniformly good, the production is solid but a little homogenous for my tastes. There is a sheen throughout that is not perhaps entirely welcome and the drums thud rather than crack- belying their processed nature. These are small gripes, really, as there is nothing wrong with the album at all. As a collection of musical pieces, it's adventurous and daring. Fans of Opeth, Mastodon et al will find much to enjoy here.
 
I first got into the band for album number two- “Monarchy”- and truthfully it is still my favourite as it is techy, brutal and pretty straight up death metal. That said, there is once again saxophone on this record, there is huge variety and a lot of lateral movement within each composition. That could not be said of the music on “Monarchy”, so the band have legitimately evolved, softened and expanded. It's to be commended, as they could have stuck with what they did and just kept doing it.
 
The brutal moments here (right next to the sax on one occasion) serve to highlight how sparsely they are used. This is not a death metal album- it just incorporates elements of the genre. It's impressive, varied and wide ranging in scope.
 
How you feel about all of this will probably be informed by where you climbed aboard the Rivers of Nihil Train- if you liked the progressive elements of recent albums, this is assuredly for you. If you are looking for tech death- look elsewhere. If you are looking to sample this, pick the track “More?” for brutal death. Pick the track “The Void From Which No Sound Escapes” for progressive experimentation and try out “The Tower” (the opener) for a bit of a flavour of a few elements in one. Overall, this is impressive and probably worthy of the plaudits that will be heaped upon it.
 
“The Work” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Criminal, "Sacrificio"

By: Richard Maw

Album Type: Full Length
Date Released: 17/09/2021
Label: Metal Blade Records

 

“Sacrificio” CD//DD//LP track listing:

1. Live On Your Knees
2. Caged
3. The Whale
4. Zona de Sacrificio
5. After me, the Flood
6. Dark Horse
7. Theocrazy
8. Sistema Criminal
9. Zealots
10. Age of Distrust
11. Hunter and the Prey
12. Ego Killer

The Review:

Chile's (and England's/Spain's) finest, Criminal, are back with this rip-roaring, thrashing, seething beast: “Sacrificio”. Right from the opener “Live On Your Knees”, the band sets their stall out and goes for the throat. Anton Reisenegger delivers riff after riff, sandpaper-throated vocals and a sense of real conviction (no pun intended).

It sounds great, too- with real sounding drums, thick guitars and audible bass in the mix. This is thrash, by way of some early kind of death metal influences; there are blasts here and there, plenty of atonal riffing and a certain South American ferocity to the delivery. If you like your BTR/Arise-era Sepultura, then this should be right up your street.

The band is nearly thirty years into making records at this point, so Reisenegger can be described as a lifer- one who lives and breathes metal. Criminal, Lock Up, Pentagram Chile... it's an incredible and prolific resume.

Twelve tracks, every one of them under five minutes long and every one of them as vicious as the last. There really are no weak links here. There is absolutely no need for a track by track as the standard is so high throughout. The quasi-title track in Spanish stands out as a neck snapper for reference, but you can play any one of these songs and get the flavour. Vicious and relentless, this is superlative thrash/death from a master. Listen to it. Buy it.

“Sacrificio” is available HERE 

Band info: bandcamp || facebook

ALBUM REVIEW: Carcass, "Torn Arteries"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 17/09/2021
Label: Nuclear Blast

“Torn Arteries” CD//DD//LP track listing:

1. Torn Arteries (4:00)
2. Dance Of Ixtab (Psychopomp & Circumstance March No. 1 In B) ADM (4:29)
3. Eleanor Rigor Mortis (4:14)
4. Under The Scalpel Blade (3:55)
5. The Devil Rides Out (5:22)
6. Flesh Ripping Sonic Torment Limited (9:42)
7. Kelly's Meat Emporium (3:23)
8. In God We Trust (3:57)
9. Wake Up And Smell The Carcass - Caveat Emptor (4:36)
10. The Scythe's Remorseless Swing (5:20)

The Review:  

Carcass have cooked up another post-reformation full length following on from 2013's rather great “Surgical Steel”. This time around, we still have Walker and Steer at the helm(s) and as the title track kicks in, this comes out of the gate like a straight up death metal record. The sound is good, the mix is good, the song titles are good. The record was worked upon at a few separate studios. James Atkinson of Gentlemens Pistols fame did a particularly good job with the guitars at The Stationhouse studio in Leeds; crisp, cutting and weighty. How about the material?

The title track is a great start- catchy, to an extent, with some blasts, some great riffs and the usual lyrical sturm and drang you would expect. “Dance of Ixtab” is slower paced, features a cowbell and some pretty righteous rock n roll grooving. I'll admit straight away that I am a huge fan of “Heartwork”-era Carcass and that I am not a fan, really in any way, of material preceding “Necroticism”. Thus, I can venture the notion that I am a fan of death metal Carcass and not the grind incarnation. Sacrilege to some, I know.

As such, this record is a musical treat for me. It's not as extreme as “Surgical Steel” and not as melodic per se as “Heartwork”. Instead, it is a good mix of death metal- done in the Carcass style- and almost hard rock songwriting.

While there are tracks like “Eleanor Rigor Mortis” and “Under The Scalpel Blade” which sound much more accessible than you might expect from the titles, there are also some real death metal gems sprinkled throughout- and even within some of the more straightforward songs. Some of the tempos and changes are resurrected from “Heartwork” here and there, too.

As the album progresses, there is plenty of chugging riffage, plenty of neck snapping grooves and plenty of skill in making this hang together as a good collection of songs. I suppose the real question here is where Carcass fit into the current death metal landscape. The genre progressed, stagnated, and diversified in equal measure after 1993 and now, I have to say, there is only one band in the genre that sounds like this. In that regard, they are akin to Obituary from across the pond- a band in a league of one. The sound is instantly recognisable and really is different from the multitude of blast and growl merchants out there. On that basis, Carcass are in a solid position to appeal to old fans, while also having a chance of being picked out by new converts.

It would not be unkind to say that some songs stick more than others; I found that “The Devil Rides Out” did not stand out particularly, but just around the corner is an acoustic intro and a roling groove for “Flesh Ripping Sonic Torment Limited”- there is variety here for sure, particularly as this one clocks in at over nine and a half minutes! Steer's style of riffing is also instantly familiar, which helps for memorability and accessibility.

 At ten tracks, it is not overlong and the band ring enough changes to keep the listener interested throughout. As noted, if you are not too keen on one track, then you may well like the next and so on. It's not front loaded either, “In God We Trust” recalls the riffing of “Corporeal Jigsore Quandary” and is thus a winner. It's dissimilar to “Surgical Steel”- and a lot more playful, to these ears at least.

By the time of closer “The Scythe's Remorseless Swing”, I think most listeners will have made up their minds. It's a great track and a stand out on the album. It's surprisingly accessible without going full “Swansong” and the songs overall are at least decent. Time will tell where it sits in comparison to “Heartwork” and “Surgical Steel”, but this is a solid entry into their death metal canon and there is plenty to enjoy here- not least that the band are still around and still writing quality music.

“Torn Arteries” is available HERE

Band info: facebook || linktr.ee

ALBUM REVIEW: Iron Maiden, "Senjutsu"

By: Richard Maw
 
Album Type: Full Length
Date Released: 03/09/2021
Label: Parlophone | BMG

 
“Senjutsu” CD//DD//LP track listing:
 
1. Senjutsu (8:20)
2. Stratego (4:59)
3. The Writing On The Wall (6:13)
4. Lost In A Lost World (9:31)
5. Days Of Future Past (4:03)
6. The Time Machine (7:09)
7. Darkest Hour (7:20)
8. Death Of The Celts (10:20)
9. The Parchment (12:39)
10. Hell On Earth (11:19)
 
The Review:
 
Iron Maiden are back. Five years after the excellent “Book of Souls”, Forty One Years after-up their debut. The six man line-up are still together and still alive. A new Maiden album is nothing less than an EVENT. Metallica have long since descended into pretentiously arty territory, with designer clothes, mainstream acceptance (after they courted it) and an overwhelming air of disconnection from their roots. Meanwhile, Maiden continue to plough their unique furrow. As can be stated by all Maiden fans, their career follows distinctive arcs and phases- essentially in ten-year cycles.
 
As I have stated before, I believe that they are the greatest metal band ever. Greater even than Priest. Greater even than, gasp, Sabbath. Sabbath are just as close to my heart as Maiden, but their lack of line up stability meant that they were literally several bands across their existence. Maiden have had changes in personnel, but crucially, the main players have always been there- mostly. Maiden are a British institution and their logo, art, sound and style are IMMEDIATELY recognisable. I love them, but that won't stop a fair review being given here.
 
First off, let's get it out of the way: this is not a return to “Powerslave”/”NOTB”/”Killers” immediacy and adrenaline fuelled metal. Instead, this is another latter-day Maiden album- lengthy, epic, maudlin in parts and dark. Very dark. In fact, its closest discography companions are “A Matter of Life and Death” and “The X Factor”. Please read on...
 
“Senjutsu” is long- 82 minutes long; so about ten minutes shorter than “BOS”. It is only ten tracks. That alone should tell you that you are not getting a re-tread of the debut. The band here are to be found on introspective and heavy form. In fact, some of the music here is amongst the heaviest they have ever done.
 
The title track opens things up- menacing and huge tom hits from McBrain kick this off. The track then builds steadily in 6:8 time with strong performances and a great atmosphere, evocative of that magnificent cover art. Maiden Japan, indeed. Advance track “Stratego” follows with a relatively short and direct approach- classic Maiden gallop with good lyrics and melody. A winner. Once again, Janick Gers proves himself to be the band's most metal writer (see also “Be Quick or Be Dead”, “Montsegur” etc.).
 
The other advance single follows, which is the excellent “Writing on the Wall”. It's a great, bluesy- almost southern fried- track with a wonderful loping groove and strong vocal performance. The riffs and melodies are great. The solos shine. Ah yes, the solos. They are, as ever, a strong point for the band and strong point of the album. Truly, each guitarist has his own style and some of the work on this record is amongst their best.
 
It is at this point that the album is really starting to shape up into a possible all time classic- or at the very least a later period classic. A moody acoustic intro kicks off “Lost In A Lost World” and for the first time, perhaps, the band really state their intentions on this record; it's a nine and a half minute track. It's moody, morose and in no way concise. In fact, the atmosphere is not at all dissimilar to the depressing and divorce fuelled vibe of “The X Factor”; a maligned but misunderstood album. With hindsight, “TXF” can be viewed for what it was: a transitional record that marked the end of Old Maiden and the start of new- or latter day- Maiden. The Blaze Bayley fronted record was much better than people gave it credit for and “Senjutsu” may just inspire a re-appraisal as it is a close cousin to this work.
 
“Lost in A lost World” may be epic in length and breadth, and the rhythms (of the beast) may be unusual, but it does not take off. The guitar interplay is good- reminiscent of “Afraid to Shoot Strangers”, as are the solos but... It does nothing that we have not heard before. It is very much a later-period- Maiden-by-numbers track, complete with lengthy quiet outro. Fortunately, “Days of Future Past” is a Smith/Dickinson banger with riffs, pace and bite. It's the shortest track on the record and it fairly races by. It's a solid album track and one that would be totally in place on any of the band's best works.
 
Next up for discussion: the production. I've read some chat online about fans not liking the mix, not liking the tones, not liking, well, anything about it. I'm not amongst them. Listening on vinyl, listening on CD, listening on MP3 through my headphones now- it sounds fine to me. In fact, it sounds like a band. Playing in a room. It does not sound like a computer. The drums are real drums. The vocals are belted out. The guitars are not overbearing and nor is the bass. I can hear everything fine as far as I can tell. It sounds like, again, latter day Maiden. I'd rather hear a band than a computer. I'd rather hear imperfection than the opposite. Hey, people love Manilla Road- me included- and their somewhat, er, unpredictable productions were part of the charm. “Senjutsu” sounds massive to me. And surely that was the aim?
 
The first half of the album finishes with the impressive “The Time Machine”. This is epic Maiden done right. Good hooks, hints of sci fi, Bruce going to the top of his range. One production note I will make is the use of synths. They are here. They are all over the album. Piercing, shrill keyboards. Their necessity? I'm not sure. Some colour is fine- “Seventh Son…” proved that, as have most recent albums. However, if they need to be as omni-present as they are, is another question. It doesn't take anything away, really- but nor does it add much. That said, there are some great changes on “The Time Machine” and it is a strong way to round off the first half of the record- Maiden trademarks are in full effect.
 
“Darkest Hour” starts off the second half in a rather downbeat way. Telling the tale of Churchill's lone stand against the monstrous Hitler regime in 1940, it chooses an imperfect historical figure and a supremely dark subject- as the title suggests. Effectively, it's a ballad based around a supremely Maiden theme: doing the right thing, no matter what the cost. It's an allegory of their own career, really; pressing on no matter what, going against the grain, following their own beliefs even if at tremendous risk. It's a good song- but adrenaline junkies should look elsewhere.
 
“Death of the Celts” follows and pushes us into absolutely familiar Steve Harris territory. Historical epic, ten minutes of music, quiet intro, dark atmosphere: it is all here. It is, I suppose, a distant cousin or descendant of “The Clansman” (again, a Blaze era track). It's quite magnificent, really. It is everything that Maiden do well in this vein- once again in 6:8 time signature. There is a quintessential Maiden middle section- complete with a Thin Lizzy esque (circa Black Rose) solo passage. The tempo stays up until the inevitable quiet outro- with Dickinson sounding a little strained to my ears.
 
If one were to look at the track list at this point, it would be realised that this is in fact the first of THREE Harris penned tracks that exceed ten minutes- “Death of the Celts” is actually the shortest (!) of them. It certainly shows confidence. “The Parchment” is the second of these epics and has a signature Harris bass intro that builds to a grim and foreboding riff- which is great. We get a guitar echoing the vocal melody as a counterpoint to the main riff (standard at this point) and a rather atmospheric tale told by Dickinson's grandiose vocals. It's fairly classic Maiden on all levels. The tempo shift comes only for the last two and a half minutes- meaning that there is close to ten minutes of single paced- albeit superbly realised- riffage. Again, there is a quiet outro- but it is mercifully shorter than others on the album.
 
The final statement here is “Hell On Earth”. Again, there is a quiet mood setting intro that stretches to over two minutes, but when the band kicks in it's upbeat and McBrain's single kick work is to the fore. This is Maiden, circa 2021. They may have lost a lot of the speed- but the recognisable parts of their sound are all present and correct. The song makes good use of dynamics and changes without repeating the acceleration towards the end that the band often pull out the bag. It's an epic closer to what can only be described as an epic album.
 
How can all this be summed up?! Well, firstly this is an album of depth and will require repeated listens and some time to fully wrap your head around. I think its merits and flaws will only be revealed in that way- you'll get out what you put in. It's long. I'd say too long. Kevin Shirley or the band themselves must step in at some point and start editing. It seems churlish to complain about getting more music, but it would be more than feasible to lose a couple of minutes (at least) off the majority of tracks here. I don't think the character of the album would be changed by it, either. It is certainly dark, moody, sombre and sprawling- and songs of eight minutes can be described in that way just as easily as songs of eleven minutes,
 
It doesn't have the immediacy of the up-tempo tracks on “Book of Souls” or “Brave New World”. It has more excitement than “AMOLAD”, but less than “Dance of Death” (which was uneven but when it put the pedal to the metal...). It is very ambitious and works as an album- it is not just a collection of songs. It is a dark sibling to “The Final Frontier”, perhaps or the grown up version of “The X Factor”- an album which I listened to directly after “Senjutsu” and suddenly... it all made sense.
 
To compare this to “Piece of Mind” or “Powerslave” would be impossible. This is firmly Maiden from 1995, or 2000, onwards. It's huge and crushing and, dare I say it, quite brilliant. It's a listening experience and one not to be missed by any fan of the band. I'm just so pleased they are still around and still making music- ambitious and challenging music at that. I like all but one of the songs on here- an impressive tally. The return of the kings. Kneel, you dogs.
 
Five years ago I committed to a ranking of all Maiden albums. Today, I do the same- having not reviewed my list from half a decade ago. To be clear, I view all of these albums as at least worthy of your time; even the worst is better than what most bands can even get close to. I recall I failed to pick a top spot back last time out. Right now, I feel that fortune favours the brave so...
 
1). Killers
2). Seventh Son of A Seventh Son
3). Powerslave
 
4). Somewhere In Time
5). ron Maiden
6). Piece of Mind
7). Number of the Beast
 
8). Book of Souls
9). Brave New World
 
10). Fear of the Dark *(special nostalgic placing!)
 
 
11. The X Factor
12). Dance of Death
13). The Final Frontier
14). A Matter of Life and Death
15). No Prayer For The Dying
16). Virtual XI
 
And “Senjutsu”?! Somewhere around the number 10 spot, I think. Time will tell. Objectively, it is a better album than “Fear of the Dark” (which was both more and less of the same) but “FOTD” was my first Maiden record and I'll always love it for that. For further clarity, I've split the placements into brackets of albums- they are essentially on equal footing with others in the bracket. Only the last two listed albums come across as undercooked. Even if “The Clansman” and “Futureal” are amongst the band's great songs.
 
“Senjutsu” is available HERE
 

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