Album review: 'The Mandrake Project' by Bruce Dickinson

The Mandrake Project

Bruce Dickinson gives himself a lot of room on The Mandrake Project. His first solo album in nearly two decades moves between heavy metal, darker rock and long, reflective arrangements. The voice remains the clearest point of connection, even when the music takes a less expected route.

Afterglow of Ragnarok is a strong opening. Its heavy riff gives the song weight, while the chorus lets Dickinson use the larger, melodic side of his voice. The contrast works well, and it establishes that this album has room for atmosphere as well as force.

Rain on the Graves is more theatrical, built around a direct rhythmic feel and a vocal that enjoys the character of the words. It's a different kind of performance from the opener, which helps the album find its own personality early on.

Resurrection Men is one of the more interesting detours. The guitar textures and changes in feel give it a wider range than a straightforward metal song, and Dickinson sounds comfortable following those turns. Longtime collaborator Roy Z gives the music enough guitar character to support the shifts.

Eternity Has Failed will be familiar to Iron Maiden listeners in another form. Its place here makes sense, though it also draws attention to the difference between Dickinson's solo material and the band most people associate with him. The surrounding songs often take a more personal or unusual route.

The quieter material is important too. Face in the Mirror gives the singing more space, while Shadow of the Gods develops towards a much larger statement. Dickinson's ability to carry a melody is the main reason those slower passages remain engaging.

The album's range also makes it uneven. Some of the more restrained sections have less character than the stronger songs, and the long closing stretch asks for a very different kind of attention from the opening. The ambition is clear, but not every idea has equal force.

Still, The Mandrake Project offers much more than a familiar voice over familiar riffs. Its best songs give Dickinson room to explore, and his performance makes the journey worthwhile.