Review Summary: Sustaining the reunion’s goodwill while also showing intent to continue evolving
Yes, yes, we all know how *** the artwork is for Dance of Death with its poorly rendered CG models, crowded layout, and bizarre color scheme. If anything, I just find it tragic to think about what we missed out on by the band going with the rough draft that had been presented. Dave Patchett’s intricacies can be downright beautiful if his covers for Cathedral are anything to go by. I’d go as far as to say that with a little more finetuning, I genuinely believe this could’ve been the best album cover of any Maiden era.
With 2000’s Brave New World reinstating the band in full comeback splendor, this album definitely has a victory lap feeling to it. It has a similar setup with another earthy production job and songs that go between anthemic and contemplative moods. However, it also sees the band putting these elements in a forward fashion that isn’t just about reclaiming eighties metal glory.
The attitude feels decidedly more laid back than many of the band’s other efforts. The lyrics are world-weary without giving fully giving into The X Factor levels of despair while the music almost dips into folk territory at times with a larger emphasis on acoustic passages and folky melodies. The closing “Journeyman” is the most exaggerated example of this being the band’s first fully acoustic number but No More Lies also stands out in this regard, mixing Celtic guitars and fluctuating tempos with lyrics that make it feel like a “Heaven Can Wait” sequel. Elsewhere, “Age of Innocence” might push its old man yells at cloud-isms a bit too far but “Face in the Sand” feels almost apocalyptic in comparison.
Of course, there are still plenty of straightforward upbeat songs on display with unique features that allow each to stand out. “Rainmaker” might secretly be the best late era Maiden anthem, riding out an especially infectious riff/chorus set with life-affirming desert imagery that “Montségur” follows up with some aggressive charges and rapid-fire vocals. “New Frontier” is another interesting number, making up for its clunky verse lyrics (gotta be nice to Nicko, this was his first writing credit) with an especially stirring chorus.
I must also admit that the longer tracks feel more realized than those on the last album, matching broad scopes with a little more character. The title track essentially retells the story from “Number of the Beast” in a more detailed fashion, but I love how the swampy atmosphere pairs well with the constant twists and jig-friendly rhythms that feel almost like something from the Pagan Altar playbook. “Paschendale” seemingly predicts the war drama on the album that followed, boasting dark moods and gritty determinism in especially epic fashion.
Overall, Dance of Death is an excellent album that does well in sustaining the reunion’s goodwill while also showing Iron Maiden’s intent to continue their evolution. It shares a similar pool of strength and weaknesses as Brave New World, but the pacing and varied moods make up for the tracks that could’ve been trimmed. The more relaxed aura has an air of finality to it and I remember wondering at the time if it was going to be Maiden’s final album. In light of the massive scope of subsequent efforts, this one feels almost like a breather. Not quite resting on its laurels, but a nice time waxing lyrical with old friends.
