With “Senjutsu” the British heavy metal icons Iron Maiden present their 17th studio album - and they are completely convincing!
London - “Senjutsu”, the title of what is now, believe it or not, the 17th studio album by British heavy metal icons Iron Maiden, cannot be translated from Japanese into German with real precision.
The term refers to the legendary era of the samurai, can - vaguely translated - stand for tactics or strategy and thus recalls the past glory of the venerable warriors from the land of the rising sun.
For the cult band mascot Eddie, who has always graced the visually stunning covers of the British, it goes after trips to ancient Egypt ("Powerslave"), to a futuristic city ("Somewhere in Time") or into the vastness of space (" The Final Frontier ”) now to the Far East.
Iron Maiden: After a six-year album break - “Senjutsu” ignites right away
The album title could not have been more appropriate in view of its variety of meanings, which is difficult to narrow down and the historical context from which it originates - and that in several respects: Like Japan's feudal generals, the band, which was founded in London in 1975, has a legendary reputation for the the men around bassist, songwriter and founding member Steve Harris have plowed the stages of this world almost continuously for decades.
In general, Iron Maiden are finally going back into the attack formation with “Senjutsu” - six years after they conquered the top of the charts in Germany with their predecessor “The Book of Souls” (2015).
Since the self-titled debut "Iron Maiden" (1980) there has never been such a long break between two of their studio albums.
Musically, the six old masters also audibly tie in with the ambiguity of the “Senjutsu” term, combining in a good 80 minutes playing time those elements that a genre lover could wish for from such a top-class band.
The epic-marching title track with its melancholic chorus is an example of the extraordinary level with which Iron Maiden convince on a total of ten songs.
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Iron Maiden: Steve Harris and his band are in top form on “Senjutsu”
Once again, Steve Harris' bass playing, bursting with perfectionist precision and thoughtful virtuosity, carries long stretches of the album.
What the 65-year-old has been getting out of just four strings for a good four and a half decades breaks all boundaries even in this style, which is populated by exceptional musicians.
The same applies of course to frontman Bruce Dickinson, who with his powerful, penetrating vocals gives the comparatively shorter pieces such as the rhythmic, galloping “Stratego” or the energetic, compact rock anthem “Days of Future Past” an immense recognition value.
More progressive tones can be heard on the consistently successful “The Writing on the Wall”, which thanks to its playful main riff and occasionally even with non-genre influences from blues and hard rock comes up trumps. On the three overly long songs beyond the 10-minute mark, including the Celtic-folky “Death of the Celts” and the dynamically staged finale “Hell on Earth”, the three-piece guitar faction stands out as usual with its neatly coordinated instrumental parts. “Senjutsu” is thus an album in the best Maiden manner, which skilfully combines the tried and tested and the new without straying too far from the characteristic band sound.