Metal Shock was a metal magazine from Italy written in Italian. But here's a review translated to English.
TOP METAL ALBUM
Despite the age-old faith in Steve Harris and his bandmates, few would have bet that the successor to the inconsistent "No Prayer For The Dying" would be so positive in terms of creativity and impetuosity. Even before delving into the merits, it's worth identifying the key reason for this transformation, which unequivocally brings Iron Maiden back to a heavier sound, much closer to "The Number Of..." or "Piece Of Mind" than the various LPs of the second phase of their discography (beginning with "Live After Death"). On the occasion of "No Prayer...", we had raised some doubts about the possibility of Janick Gers coexisting with Dave Murray, not because of technical incompatibility, but rather because Maiden had remained unchanged in lineup over time, apart from the change of vocalist that occurred after "Killers".
But Gers, who had failed to make a substantial change of pace in the previous episode, this time takes over, combining his musical and guitar roots, undoubtedly Zeppelin-esque, in a metallic context but always faithful to the historic Maiden sound. The result is a perfect example of modern heavy metal. With two years and an album delayed, the prophecies that Bruce Dickinson had launched on the eve of "No Prayer" have come true, when he announced a return to the classics. The beauty of "Fear Of The Dark" is the ability of the five Englishmen to create a bridge with the past, without denying the sound and compositional research of albums like "Somewhere In Time" and "Seventh Son...". From the first notes you will know that you are once again in front of the Iron Maiden of always, those who never betray their ideals and their sound. "Afraid To Shoot Strangers" is the best example of this genesis: the song opens with a long intro where Steve Harris' bass plays a very prominent role but which, at the same time, recalls the long rides of the past.
Then suddenly Maiden find themselves pedaling madly to dizzying rhythms... And the song becomes a sort of '90s "Hallowed By The Name", a cascade of notes and a breathtaking solo. When Bruce and co. step on the gas with "Be Quick Or Be Dead", the impression is that the speed of the singer-songwriter could still have a bright future after having been set aside for a long time. "Wasting Love" is fun, a true ballad even if in pure Maiden style. Mid-tempos reign supreme in "Childhood End's", "The Apparition" and "Chains Of Misery" where Gers's rhythmic versatility emerges, finally seeming to find a combination that makes a sure impact with Murray and, above all, influence Harris who seems to benefit from this broadening of horizons.
It's truly time to give a few words of recognition to Bruce Dickinson's vocal contribution, never so incisive and inspired. Evidently, last year's not-so-successful solo project must have given the young British performer renewed energy. "Childhood End's" is magnificent, as is Gers's monstrous solo on "The Fugitive" and the epic choral performance of "Fear Is the Key." In a time of great crisis in terms of record releases, "Fear of the Dark" is the right banner to point to in the defense of a sound that is still far from extinction. (Paolo Maiorino)