His most recent offering, Tyranny of Souls, manages to accomplish as much within the first four songs. Seizing upon the advantage which he has over just about every performer who has ever brandished a microphone, Bruce Dickinson wisely burns his often imitated but never matched vocal cords deeply into the aural fabric of this release. After the first listen, there can be little room for doubt that the years have stolen nothing away from his unnatural ability to deliver his powerful vocal acrobatics.

After the creeping prelude of opener "Mars Within", no time is squandered, and the band cracks into "Abduction"--- a song to be savored as it brims with the kind of modes and stringwork that abounded during the eras of NWoBHM and classic metal. To the benefit of listeners whose age precludes them from having been exposed to these glory days as they happened, this song, along with other air piercers "Power of the Sun" and "Soul Intruders", removes the veil from this essential style and nourishes the ears with fresh interpretation. "Soul Intruders" is arguably one of the best that Tyranny of Souls has to offer, ripping from its first measure with its greeting of frenzied, thrash soaked riffing, its swaying, memorable chorus, and its brief but manic lead guitar work which clocks in at about 2:30 into the track. As the song closes out with the phrasing that it opened with, Dickinson takes his howling toe to toe with the wailing guitars. Indeed, his is truly the voice that is the golden ship in the stormy sea.

"Kill Devil Hill" bats clean up in the fourth slot. It seems as if all of the tastiest morsels are being tossed early on. I'm unsure if this song might have even been better as the closing number on Tyranny of Souls. The collective effort involved within this song's mechanics is remarkable. Here we have Bruce Dickinson as his legend establishes itself to be. Here he is, before us once more, as the operatic madman, lifting his voice like wind borne thunder, rife with his patented melodic snarling. An unexpected, synth-driven string section ebbs to the surface to support the chorus, and a crisp, clean take down moves in at around 3:30, where piano keystrokes step over phase shift guitar work.

With "Navigate the Seas of the Sun", unique directions are explored in terms of arrangement and vocal technique. The feel almost comes across as folkish and organic, as earthy acoustics wash across alternating rock and march drumbeats. Bruce Dickinson turns his vocal delivery in a different direction--- more gentile, and rounder. Just as within the tales which are woven on the following track "River of No Return", this song makes use of provocative lyrical metaphor. The spheres of myth and natural phenomena are there as symbols of our own hopes, dreams, illusions, and fears--- the suns, the poisons, the rivers, the chalices, etc.--- all comparative tools which Bruce Dickinson has always employed to good effect.

Even still, only a rare handful of albums can maintain a perfect chemistry for long, as tracks "Devil on a Hog" and "Believil" prove out. Here the stovetop fire eases to simmer, with the shaky chorus on "Devil on a Hog", and the ineffectual foray into dark electronica found at the beginning of "Believil". These are forgettable, though do very little to diminish the overall impact of the album.

The title track was chosen to be the epilogue for Tyranny of Souls. The curtain lifts to the whisper of Asiatic guitar work. The words rise with Shakespearean sobriety, "When shall we three meet again?". The narration yields to an anthemic chorus, the second round of which is proceeded by a heavy, percussive build up in six count time, eventually making way for some searing, five star lead guitar. The chorus comes back in for a final push, and then all business is done.