BRUCE DICKINSON — Skunkworks (review)

BRUCE DICKINSON — Skunkworks album cover Album · 1996 · Hard Rock Buy this album from MMA partners
3.5/5 ·
Pekka
After Bruce Dickinson's Balls to Picasso backing band The Tribe of Gypsies found a record deal on their own, he was forced to find new people to work with. A young guitarist called Alex Dickson became his new songwriting partner, and completing the line-up were bassist Chris Dale and the Italian drummer Alessandro Elena. The four of them called themselves Skunkworks, but when they had their album in the can, the record company of course insisted that it be released under the familiar Dickinson name to help sales.

At this point in his career Bruce Dickinson hadn't yet formed a recognizable face as a solo artist, his first album being plain hard rock, and the second a more metallic effort which also included his softest and weirded recorded moments. So now, the third album and the third sidekick brings along the third style. Skunkworks is Dickinson's attempt at capturing the alternative rock and metal spirit, with forays into a stoner kind of vibe. A couple of chords, a fragment of melody - if they're good then it's good to go.

Tracks like Faith, one of the highlights, could come from Balls to Picasso, and it's the most melodic numbers like Solar Confinement, Back from the Edge and Inside the Machine that I find most enjoyable, the first two especially being a forgotten Bruce classics. But then after the first five excellent tracks, the opener Space Race perhaps excluded, the band slows down for Dreamstate and I Will Not Accept the Truth, which can not hold interest in the same way, which goes for Headswitch as well, a full blown stoner rocker with a nice riff but nothing else. Interesting as an experiment, though. Innerspace is another quality track at the end of the album, but the closer Strange Death in Paradise is another less enchanting slow paced track, but luckily it grows to make a fitting ending to the album.

Usually I'm more of a fan of the slower numbers, but on this album it almost goes the faster the better. Some good stuff of the more familiar kind, and some experiments that didn't take off quite as well. A nice album worth listening to, but by no means essential.
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