Iron Maiden - A Matter Of Life And Death (CD 2006)

Iron Maiden have seemingly embraced their progressive rock influences, and this album is a melting pot. Refreshing isn't normally a word I would use of any album which is comprised primarily of songs over seven minutes long, but there is just such a diversity of melody and structure to these tracks that the album is never in particular danger of becoming dull.
The opening track 'Different World' should leave nobody in any doubt that Iron Maiden can still combine melody with raw energy. Throughout this entire album the three guitars are utilised brilliantly, and this track is no exception. They don't just duplicate each other. Rather there's a multi-layered feel with something different to catch the ear at key moments. Adrian Smith uses a Gibson SG in this track, which gives his solo a real edge to it. 'These Colours Don't Run' seems to have emerged from a single line defiantly shouted by Bruce Dickinson at last year's Ozzfest fiasco, and while I'm not totally convinced by its grandiose sounding chorus the rest of it is melodically enticing. 'Brighter Than A Thousand Suns' is about the Manhattan Project which led to the development of the atomic bomb. In common with many other tracks on the album it combines delicate quiet passages with bowel shatteringly heavy moments in a combination which the band have captured perfectly this time round. All the quieter moments on this album sound much fuller and richer than at any previous time, and Bruce Dickinson's vocals are more sympathetic with the mood of the music than I've ever heard previously.'The Pilgrim' is briefer and more direct. An almost straightforward rocker with a fantastic chorus and the multilayered instrumentation again standing out. 'The Longest Day' is about the D-Day landings in 1944 and builds brilliantly. The lyrics at the beginning really help the dramatic build up. I haven't heard overt use of a guitar flanger since 1982s 'The Number of the Beast' and it's great to hear it used effectively at the beginning and end of this song. The instrumental break is frankly epic, with a spine tingling section which reminds me of the tail end of the instrumental section of 1983s 'Where Eagles Dare'. 'Out Of The Shadows' is reminiscent of 1992s 'Wasting Love' and as such I'm not enamoured with it. I thought the 1992 track was misguided. Fortunately this track is better, but if there is one weak song on this album then it's this one for me. The elusive Benjamin Breeg is next with its hard and heavy leading riff hitting the aural G-spot nicely. 'For the Greater Good of God' is another great epic. 'Lord of Light' has a beautiful intro belying the trademark Maiden gallop which follows, before it metamorphoses again. And 'The Legacy' is the most overtly progressive sounding track Maiden have ever done, showing Jethro Tull and Genesis influences among others.
I have always considered Iron Maiden's 1980s albums to be their finest, but 2003s 'Dance of Death' supplied a few surprises that proved that they were far from being studio has-beens. But I wouldn't have dreamed that there was enough creative potential to create a 72 minute long album which is perilously close to being perfect. A real bolt out of the blue, with unparalleled musicianship from all concerned. Up the Irons.