The general consensus surrounding The Final Frontier, Iron
Maiden’s studio release for 2010, seems to be that it takes a while to
soak in. Then, after a few spins, the album starts to grow on you. Heavy metal
dinosaurs aren’t supposed to be making heavy records like this one. Reaching
beyond A Matter of Life and Death, Maiden’s heavy 2006 diatribe addressing
war and religion, the band took Captain Kirk’s advice, teamed up with
producer Kevin Shirley and set off for space…The Final Frontier.
Thankfully Maiden hasn’t absconded to Trekkieville — they’ve
merely put Eddie and his minions into a catacomb of interplanetary situations.
That’s what you decipher from the lyrics and artwork graphics, perhaps
a tad arbitrary to the monster riffs that push the whole thing forward. In this
instance, Maiden has grown beyond the crunchy three guitar pile-up — constructing
songs like architects, relying on textures and layers to add depth and new sonic
ground.
Which isn’t to say the lyrics lack any sort of depth or heart. Primary lyricist
Steve Harris continues to probe heavy subjects like war and religion, while
singer Bruce Dickinson settles into the comfortable role of pilot, navigating
the melody, adding here and there where he can, rallying the cry as dramatically
as possible.
Maiden’s approach on The Final Frontier is far more measured
and considered than on previous releases. A churning, squirming build fills
out the opening four minutes of “Satellite 15…The Final Frontier.”
The engines revved up, an assault is unleashed and the triple axe attack of
Adrian Smith, Dave Murray, Janick Gers winks in and out of Dickinson’s
commanding vocal.
“El Dorado” has one of those barking riffs that melt in your mouth,
with a catchy gallop the kids will be leaping in the aisles over. A seismic
shift nudges “Mother Of Mercy” into a neo-classical direction, entering
darker terrain, but “Coming Home” lifts the veil, and Dickinson tosses
in his lot toward to runway lights.
At over nine minutes, “Isle Of Avalon” is the appropriate centerpiece,
a chuggernaut that chases down an endless range of power chords wedged around
twirling, weaving leads and momentary tempo thrusts. A questionable outlook
for “Starblind,” “The Talisman” and “The Man Who
Would Be King,” but none can stand up to Harris’ “When The
Wild Wind Blows,” an anthemic bender that spends 11 minutes ascending
and staggering through the electric airwaves.
Recorded at Compass Point Studio, where Piece Of Mind, Powerslave
and Somewhere In Time were all cut, The Final Frontier
is not a simple return to form, but a sophisticated extension of the band’s
might and muscle. The band’s 15th can rightfully take its place alongside other
classics as one of their more concerted efforts, late in a 30-year odyssey with
no end in sight.
~ Shawn Perry
