Iron Maiden
The X Factor

THE REVIEW

Put the CD in your stereo, press play, and let the gloomy chant of the Gregorian monks penetrate deep into your soul. After a hypnotic arpeggio, “Sign Of The Cross” explodes in all its potency and epicness, the best song by Iron Maiden along with “Phantom of The Opera”, “Dance Of Death” and “Brighter Than a Thousand Suns”: eleven minutes of simply perfect bridges, riffs, and solos that sweep away like snow in the sun the fearful lapses of style that had ruined the previous “Fear Of The Dark”.

“Lord Of The Flies” and “Man On The Edge” are authentic metal anthems, truly incendiary, further ennobled by Blaze's perfect performance, who (I insist on emphasizing) is as outstanding as Bruce Dickinson. With “Fortunes Of War”, a slow, hypnotic, deep, and not at all easy-listening song, you enter the dark heart of the album, made of beautiful and introspective lyrics, slow, meditated intros, and amazing explosions crowned by granite riffs that demonstrate the rediscovered vein of Dave Murray and Janick Gers. “Look For The Truth” starts slow and agonizing, then flows into Blaze's chorus, which gives immense strength to this track. More cadenced and solemn, “The Aftermath”, takes us back to the doubts and sufferings of a soldier fighting in the mud and questioning if it's really worth it. But when you least expect it, the clouds part and “Judgement Of Heaven” bursts out, beautiful, deep, and illuminating like a ray of sunlight in a dark room. Almost an illusion because it plunges back into the darkness of war and violence with “Blood On The World's Hands”, another perfect track partially marred by the unnecessary initial bass solo by Steve Harris. The Vietnam War had already inspired a chilling song like “Rooster” by the immortal Alice In Chains, and it is also the theme behind “The Edge Of Darkness”: the usual (and never unnecessary) slow intro and Blaze's explosion perfectly describe the anguish of a soldier trapped in the jungle's darkness and subject to orders he does not want to execute.

“2 A.M.” is a small step below the previous tracks. Still, the lyrics are very beautiful and Blaze's performance is, as usual, moving and intense. “The Unbeliever” would be an original and relatively angry piece, but unfortunately, it is ruined by an instrumental section that is too long and not quite fitting.

Conclusion: anyone who sees TNOTB as the ultimate artistic expression of the Iron Maiden has as much chance to appreciate this ABSOLUTE MASTERPIECE as the Nanowar have of signing a contract with the Magic Circle. For others, listen to it without prejudice, and you will fully appreciate its beauty and depth. UP THE BLAZE