Driven by Sonic Obsession

‘Skunkworks’ may just be Bruce Dickinson’s most controversial solo album, as it is quite likely the least metallic album the legendary Iron Maiden frontman ever released. But while the alternative rock on the album is quite a bit different from what Dickinson was known for, it is a much more natural follow-up its predecessor ‘Balls To Picasso’ than it often gets credited for. Sure, there is less distortion and the compositions are a lot less dense, but ultimately, ‘Skunkworks’ is full of fresh, classy songwriting executed with a degree of spontaneity and freedom that is quite hard to find on metal records.

Often defined as Dickinson’s grunge record, ‘Skunkworks’ suffers from unfair labeling due to the time it was released. Sure, Jack Endino produced the album and there are some audible Soundgarden-isms here and there, but ultimately, ‘Skunkworks’ sounds much closer to ‘Counterparts’ era Rush to me than it does to Pearl Jam or Nirvana. Obviously, the album was doomed to be a commercial failure, as metal elitists would see the album as a betrayal, while Dickinson is too closely tied to the type of music that the grunge audience – not the Seattle bands, mind you – were rebelling against.

Castle Records might be partially to blame there, as they refused to release the album under the intended band name Skunkworks. That would have been more than just a moniker; by wanting to release the album under a band name, Dickinson basically told the world that the music on this album was not his, but a band product. Guitarist Alex Dickson co-wrote each of the thirteen tracks and the musical interaction between him, bassist Chris Dale and drummer Alessandro Elena is noticeable. Despite having some tight hooks and structures, it would not surprise me if the arrangements were a result of lengthy jamming.

Despite various approaches, ‘Skunkworks’ is very stylistically consistent. Most of the songs are built upon swift, simple rhythms upon which Dickson lays down clean riffs with a small, but noticeable raw edge. There are exceptions, slower tracks like the mysterious ‘I Will Not Accept The Truth’, the intense and brooding ‘Dreamstate’ and the almost doomy closer ‘Strange Death In Paradise’. But generally, if you like the uptempo, surprisingly upbeat rockers ‘Innerspace’, ‘Back From The Edge’ and the particularly enjoyable ‘Solar Confinement’, you will enjoy the rest of the album. Dickinson soaring on top of it may sound unconventional, but that is exactly what makes ‘Skunkworks’ a fresh take on alternative rock.

Ultimately, the lack of commercial success for ‘Skunkworks’ is somehow easy to explain, but much harder to understand. Once you turn off the part of your brain that keeps reminding you that you’re listening to the guy that used to be in Iron Maiden, what you are left with is simply a strong rock album that deserves to be seen in a more positive light. It is remarkable how well Dickinson’s massive voice fits the material and the musicians obviously work well with each other. Of course, it is not as overwhelming as ‘The Chemical Wedding’, but it may be Dickinson’s most interesting solo release from an objective musical perspective.

Recommended tracks: ‘Solar Confinement’, ‘Inertia’, ‘Dreamstate’, ‘Innerspace’, ‘Strange Death in Paradise’