Review Summary: Aging gracefully with occult metal flair
I’m mostly desensitized to artists who take forever to release anything anymore, but there’s something about the nineteen years since Bruce Dickinson’s last solo album that hits close to home. I was sixteen when Tyranny of Souls came out in 2005, still dipping my toes beyond metal’s usual suspects and full of hope for the future. I’m a month shy of thirty-five as The Mandrake Project is finally here in 2024, some ambitions realized but ultimately a flicker of that old flame. I’ve spent half of my life wondering when/if he’d get another release out there, further intrigued by the prospect of a conceptual framing.
No pressure, right?
Considering Dickinson’s previously established knack for changing up his approach with each outing, it’s nice to see him continue to offer up some fresh flavor here. There’s familiarity in the darkly arcane aura that persists throughout ala The Chemical Wedding, but the overall pacing is decidedly more methodical than anything he’s done before. The tempos border on doom territory, the structuring goes by hard rock foundations, and the folk ventures add some extra flair. It could be described as his equivalent of Blue Oyster Cult’s Imaginos, albeit with much more cohesion behind it.
The musicianship certainly helps with that cohesion, feeling more uniform compared to Tyranny of Souls’ somewhat grab-bag nature. It’s certainly splendid to see Roy Z return as Bruce’s co-conspirator; his signature blend of downtuned chugs and Latin acoustics can be seen from a mile away, even if the crunch isn’t quite as biting as it was in the late nineties. The drumming is also nicely involved with an upfront presence in the mix and the keyboards reinforce the esotericism.
Dickinson’s vocals still admittedly show the aging that’s become impossible to ignore on Maiden’s most recent efforts, but it’s actually a notable strength here. In contrast to his alma mater’s much more demanding nature, his solo career has always allowed for more balanced melodies that are especially bolstered here by the more character-driven delivery. “Eternity Has Failed,” a rework of “If Eternity Should Fail,” is the most indicative of this in action as the more measured gallop and greater emphasis on the exotic instrumentation gives the singing a little extra room to breathe. If Senjutsu made him sound like a tired old warrior, then The Mandrake Project shows him as a wily grey wizard with an ominous yarn to spin.
Speaking of which, the songwriting balances the narrative scope and memorable hooks quite nicely. I may wonder if “Eternity Has Failed” might’ve been the opener had it not been previously knicked, but “Afterglow of Ragnarok” starts just as well with a dark build that gets a sinisterly gleeful edge with the verses of “Rain On The Graves.” “Resurrection Men” is definitely the most adventurous track of the lot, encompassing all the album’s facets between its metal drive, stoner-friendly breakdown, and climactic acoustic strums.
Things do dip a bit with a couple songs in the back half, but there are as many offering their own intrigue. “Face In The Mirror” is an archetypal Bruce ballad in the vein of “Man of Sorrows” but feels solid in its own right thanks to the gentle playing set to a steady beat. I can also appreciate the ten-minute “Sonata (Immortal Beloved)” serving as a slow burning comedown whose almost-industrial spaciness feels like a successive mix of “Strange Death in Paradise” and “The Alchemist” with what feels like some lyrical nods to the fairytale musings of “Taking the Queen.” Damn, Bruce’s solo stuff had lore all this time and nobody told me?
While The Mandrake Project can’t really be expected to hit the stratospheric standards set by Accident of Birth or The Chemical Wedding, it’s still a refreshing listen. I certainly appreciate it maintaining the exploratory tone set by Dickinson’s previous efforts with an array of creative musicianship and intriguing themes. It also proves to be just as much of a grower, ensuring there will be plenty more to uncover with time. I don’t expect a followup when I’m in my fifties, but this is the sort of album that makes one wish all the old guard artists left standing could be this inventive.
