Iron Maiden – The Final Frontier : Album Reviews

Arguably the worlds best metal band, Iron Maiden have rocked-out to large-scale festival crowds for over 30 years now. For most people this would seem an appopriate excuse to rest on one’s laurels, however, these British metal stalwarts are still as busy as ever.

This time around it’s The Final Frontier – their fifteenth studio album. Along the 76-minute journey, there are the hallmark Maiden moments, as well as some new and interesting developments that probably wont dishearten too many fans. Since Maiden fans – like many other fans of generational-crossing bands – have more or less resigned to the fact that they’re really not going to be as good as they were, one can’t help but feel that Maiden have  simultaneously avoided the category of ‘good on ya for having a go’ with this album.
Despite their halcyon days being far behind them, Iron Maiden have gradually altered their style to avoid becoming repetitive and irrelevant. You can’t really fault them for not burning as bright these days; releasing something in The Final Frontier that compared to the likes of Number Of The Beast or Killers would be the equivalent of Lance Armstrong winning the Tour De France for the entirity of next decade.

Opening up with Satellite 15, we’re ushered into the deep thematic space idea, which occupies the entire album both lyrically and musically. El Dorado goes over some familiar territory and shows that the lads haven’t lost any of fiercely creative songwriting power. Coming Home covers some power-ballad territory and showcases some great guitar solos, while The Alchemist harnasses some of that duel-guitar leads that have helped define that Maiden sound over the past couple of decades.
Starblind is a fair example of just how enthusiastic their sound is, while When The Wind Blows satiates the appetites of those who love the simple idea played repetatively, with all manner of guitar melodies and harmonic experimentation glossing over to produce an 11-minute epic.

As far as the thematic content of these songs is considred, the journey isn’t really as important as the fact that there is one to begin with. Just having something to stick to, and having almost a narrative formula work within has helped Iron Maiden produce a respectable album. Their effective use of musical imagery engages the listener; the long winded vocal-starved introducitons maintaining visions of post-apocalyptic space landscapes.
One thing that I found particularly jarring, however, was vocalist Bruce Dickinson’s singing sounding far too ’strained’. I understand that he’s probably lost some of his range, yet I felt as though if it weren’t for his occasional sub-par vocal attempts, I would almost be duped into thinking I wasn’t listening to a band in the ‘vintage’ years. Once again, however, much like Maiden as a whole, Dickinson is possibly suffering from having set an almighty marker in his prime.

The Final Frontier is proof that Iron Maiden haven’t lost their ability to make relevent music. Although not having the same brilliance and damn-fine catchiness of their classics, there is still something on here for anyone willing to take it on. The album as a whole is what is important here, with the songs individually not having as much power as you might think.  I suppose it’s a case of the whole being more than the sum of its parts. Although it’s lengthy (perhaps a little too long – but not so much an issue), it doesn’t feel too drawn out. This is Iron Maiden – not at their best…but good enough.