Review BRUCE DICKINSON ‘The Mandrake Project’

When Iron Maiden frontman Bruce Dickinson announces a solo album, it’s always an exciting moment. September 2023 was such a moment: Dickinson announced his new solo album, ‘The Mandrake Project’, and the first single, ‘Afterglow of Ragnarok’, was released a few weeks later.

On March 1st the time has come. ‘The Mandrake Project’ hits the record stores and expectations are rising. One thing can already be said at the beginning of this review. ‘The Mandrake Project’ is a great album which is at the same time an all-embracing release. In addition to the music, fans also have the chance to enjoy an accompanying comic that visually illustrates the album.

In the meantime, Dickinson has already released a second single, ‘Rain on the Graves’. This is a typical Dickinson/Roy Z. collaboration, with the song having its roots back in 2012. Thematically quite heavily loaded, it is unique melodies, hard riffs and Dickinson’s exceptional voice that make the song shine. The only small drawback is that the song is fading out, but that’s something we can live with.

Also exciting to listen to is ‘Resurrection Men’ which, after a relaxed start, suddenly comes up with a Sabbathian doom riff. Such a twist was not foreseeable. However, it is a very welcome turn which shows the musical versatility of ‘The Mandrake Project’.

_{BRUCE DICKINSON MANDAKE PROJECT 2023 PHOTO BY JOHN McMURTRIE}

The range of ‘The Mandrake project’ is also evident when comparing ‘Fingers in the Wound’ and the closing ‘Sonata (Immortal Beloved)’. While the first song is a straightforward piece with oriental elements, ‘Sonata (Immortal Beloved)’ is an almost 10-minute epic. Mystical and dramatic, this is how Dickinson shapes the finale of his new solo album. The song begins quietly, almost restrained. However, this changes as the song picks up speed and power towards the chorus before another calmer middle section puts the focus back on Dickinson’s vocals. With its atmospheric and cinematic basic pattern, you get the feeling of listening to a story in which the music acts as a mood enhancer.

On the other hand, ‘Mistress of Mercy’ is a more streamlined track, but with a few unpredictable twists and turns. Sustained and reflective, however, are the adjectives that describe ‘Face in the Mirror’ quite well, while the bass-driven ‘Eternity Has Failed’ with its partly galloping rhythm is more reminiscent of Dickinson’s musical mothership.

To sum up: With ‘The Mandrake Project’, Bruce Dickinson presents a comprehensive and very well-made solo album. Of course, his voice is an elementary part of Iron Maiden’s sound, but the singer manages to go other ways with his solo album without questioning his passion for superbly crafted metal. ‘The Mandrake Project’ is better than recent Maiden albums and you can feel that Dickinson enjoys moving outside the musical boundaries of the mothership. One should have heard ‘The Madrake Project’ and one can also look forward to the live shows, where you can also enjoy Dickinson in relatively smaller venues.