A Matter Of Life And Death
(EMI)
Reviewed by : Tim Henderson
Rating : 6.5
Referring to my notes when I first heard this record in late July... it reads This is truly painful. Now, with increased sessions, A Matter Of Life And Death is certainly not as painful as the overwhelming first bite, but it no doubt has its share of shortcomings. C'mon Steve, you can't tell me with a serious face that Maiden have truly concocted a blinding opus, with fresh ideas and a new lease on life. It's undeniably Maiden... but that's the big problem. You can hear any number of past Maiden riffs, melodies, ideas on virtually every track on A Matter Of Life And Death. Does this make for an exhilarating listening session? Hell no. Each piece of this album is a serious tale, masterfully executed, but ultimately monotonous. As it grows on you, so does it's immense weight and sheer magnitude. When Maiden created the landmark 'Phantom Of The Opera' or the massive 'Rime Of The Ancient Mariner, it signaled a key proggy direction rarely executed properly in this genre; the idea seemed to be Let's include one show-stopping epic on each record. With 26 years under their belt, over half this bloody album can fit this sentiment. Hence theres a need to truly sit with this, let it soak in... deep. With increased listens certain shadows of the glorious past shine through for better or for worse. Here's a track-by-track synopsis after truly countless listens. 'Different World' is ranked up there with many album openers. Led by drummer Nicko McBrain's voice and then inherent backbeat, the track boasts some feel-good, warm n fuzzy chorus lines, yet it seemingly gallops to the hills and then disappears. 'The Pilgrim' starts as a Maiden march, but is a raucous, upbeat tune, Dickinson placing you in a chokehold of his soaring sirens. With its middle eastern flavor, this is undoubtedly one of the finer Maiden tracks since the band reformed for Brave New World in 2000. 'These Colours Don't Run' is the first epic we meet, albeit sterile, the first of a few mediocre/b-side/filler tracks. The refrain saves the tune, but the upbeat midsection is yet another instrumental pounding mission to yesterday. Oh-wo-wo, oh-wo-wo-wo-wo, Oh-wo-wo, Oh-wo-wo ... ooh, it's all so contrived. 'Brighter Than A Thousand Suns' is no doubt the finest track on the record. It borrows from Tool on the intro, but an angry down-tuned riff slowly builds to one of Maiden's finest creations ever. This song saves the album - Bruce Dickinson's haunting lyric 'Out Of The Darkness...' is genius and shivering with intensity. 'For The Greater Good Of God' is nearly ten minutes in length and another track photocopied from the past. Geez. And the stallions keep galloping... The title is longer than the main chorus line, which sees Bruce trying to squeeze in the words uncomfortably. When the orchestral mid-section peaks, the triple axe threat of Adrian Smith, Dave Murray and Janick Gers take over in an excellent gun fight, but even their handiwork can't save this song. The main musical presence on 'Out Of The Shadows' is ripped off from Dickinson's 'Tears Of A Dragon' solo track. Enuff said. 'The Longest Day' lyrically this is a menace in the waiting as its war tale keeps you riveted. Dark in mind and matter, the chorus, which reiterates 'the longest day' is rather prophetic when it comes to this album! 'The Reincarnation Of Benjamin Breeg'... ah, the first single, and no doubt the least pointed and truly bizarre introductory track in Maiden's history. Kind of a cool plan, this is yet again an epic, a seven-plus minute biography of the fictional Breeg. Kevin Shirley's production shines amidst this strange, but inventive riff - a stand-out track nonetheless in this murkiness. 'Lord Of Light' - of course, another bite-sized chunk of the ol' Brits. Two minutes of Bruce in hypnotizing lullaby mode takes us to a melancholic yet upbeat trance. Still kinda going everywhere, but nowhere fast. Kinda interesting, but the last two minutes sound like a million Maiden outros. I think the pain is setting back in... 'The Legacy' kicks off like a classic '70s Zep/Tull acoustic tune, another eerie poem of a sorts with Bruce nestled close to the mic. This is more grandeur than all the grand finales prior (!), pushing ten minutes in length once again. The noodling lasts over three minutes and the Maiden sprint to the finish line begins. The band have gotta be tired. I sure as hell am. I recall a famous quote from Bruce about playing 'Mariner' live and wondering how the hell he'd manage to remember all his lines - try this album mate! I can't see much of this material translating live very well without audiences nicking out for a quick ale break. There are limits bands must foresee not to risk rising over the heads of the faithful. Steve, step back from this record and try to see the forest for the trees, cuz this dense growth needs desperate pruning. Should you have to take a breather from an album listening session? Should you have to put a record on hold just to take a piss?! A Matter Of Life And Death takes over 70 minutes to say 'We are aging, weary and running out of useful ideas.' Yeah, this will still move a million-plus units worldwide. And every live date will be a sell-out. But will you be listening to A Matter Of Life And Death fully in a month? Doubtful.
The album is plain uninventive and boring IMO...
