Review Summary: Silicon Messiah sees Blaze Bayley showing his true potential on his terms
Blaze Bayley’s case for being one of the biggest underdogs in heavy metal has never been stronger than when he was let go from Iron Maiden in 1999. Even if you weren’t one of the fans actively happy to see him go after singing on two controversial outings, the excitement of the classic lineup back together likely overshadowed any curiosity of what he’d do going solo. But rather than limping off to total obscurity or embarking on some misguided Megadeth-esque revenge quest, 2000’s Silicon Messiah sees Blaze proving his true potential on his terms.
Comparisons to his former band are inevitable but the style at hand uses that classic metal template to push forward rather than retread. The expected guitar harmonies and melodic vocals are here but also accompanied by downtuned rhythms that emphasize a thick, weighted crunch. Thankfully there aren’t any attempts to go too far with dated industrial effects as Andy Sneap’s clear production is enough to convey the clinical aesthetic. It’s honestly not too far off from what ol Bruce Bruce had been doing on his own just a couple years beforehand, albeit with cybernetics and sci-fi instead of arcane poetry.
This album also cast away Blaze’s perceived shortcomings as a vocalist and demonstrated his unforeseen prowess. Armed with the discipline he didn’t have while cutting his teeth in Wolfsbane but no longer pressured to live up to a completely different singer, his baritone has become a comfortable and confident bellow nurtured by the lower tunings. He will always be an acquire taste to some extent, but it never feels like he’s struggling and there are enough higher jumps to suggest that he isn’t just playing it safe. The chemistry he shares with the other musicians on board also goes a long way.
That sense of triumph extends to the songwriting as the album is full of the supercharged metal anthems that Maiden seemed to lack during his era. “Born As A Stranger” and “The Launch” are especially indicative of this outlook, the former soaring on uplifting guitar work and sure-assured vocals complete with that ‘whoa-oh’ bridge while the latter plays like a more furious version of “Man On The Edge” complete with a particularly prominent bassline. I also love how the opening “Ghost In The Machine” sets up a world of possibilities with its driving ebb and flow, the title track pairs determination and melancholy in a mini-epic structure, and “The Brave” sees its chugs threaten to go full power metal.
However, the darker tinges throughout and the dives into more introspective lyrics show that Blaze was also willing to continue honoring that side of him as well. This is especially apparent with “The Hunger” and “Identity,” both songs slowing to grungy doom crawls with the former feeling especially brooding without coming off as excessive. It all culminates with “Stare At The Sun,” a near eight-minute closer that cycles through somber cleans and bittersweet speeds to match the theme of an astronaut coming to terms with their exploratory isolation.
Overall, Blaze Bayley put his best foot forward with Silicon Messiah. While this modernized metal approach wasn’t the most groundbreaking for the scene at large, it’s refreshing to hear his voice sound more natural than it ever could before accompanied by strong musicianship and unique themes. It’s the sort of album that makes one lament his dogged reputation but also intuits what Maiden saw in him in the first place. As much as I wonder how that era could’ve gone down with sensible accommodations, I’m grateful that this album and the numerous others that followed really get to see him shine.
