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After faltering with their 2003 release, Dance of Death, Iron Maiden displayed the telltale signs of a band past its prime, pining for the glory days with depressing mediocrity. However, A Matter of Life and Death recalls their past as edgy pioneers who shepherded the New Wave of British heavy metal in the 1980s. Released Sept. 6, A Matter of Life and Death incorporates the galloping dual guitars and wailing falsettos that first deified them in heavy metal Valhalla while remaining both relevant and provocative in the context of modern music and events.

Throughout its 10 tracks, A Matter of Life and Death explores war, religion and war over religion. Iron Maiden has never avoided politics (one early 80’s cover depicted the knifing of Margaret Thatcher) but the emotional journeys contained in this album are far more advanced than the cliches spewed out by most modern musicians who dabble in the subject. The third track on the album, “Brighter than a Thousand Suns,” laments the consequences of unrestrained domination of planet Earth when men act as gods. Iron Maiden avoids specific finger-pointing, focusing instead on an exploration of the depths to which humans fall in the frenzy of war and destruction.

“The Longest Day,” track five, tells a violent and wrenching story of good men broken down; turned to beasts in the darkest of circumstances. Dickinson carries the impassioned lyrics to soaring heights with his signature wide vibrato. The guitars begin with simple riffs and grow in intensity, erupting into an energetic guitar solo.

One of the most interesting things about this album is the earnest spirituality in the approach. In a genre where religion usually involves demons, goats, and the defilement of virgins, Iron Maiden rises above the traditional heavy metal idiom. In “For the Greater Good of God,” track eight, Dickinson wonders, “Are you a man of peace/A man of holy war/too many sides to you/don’t know which anymore.” The song describes the depravity of wars fought under the guise of religion. “You know, religion has a lot to answer for,” he wails. Iron Maiden’s anger is not directed toward religion itself, but those who would use it to perpetuate hatred and war. The hope on this otherwise dark album comes from “Out of the Shadows,” the sixth track. Dickinson reminds listeners that ugliness is a part of human life, but so is beauty. After all, “A man who casts no shadow has no soul.”

The record’s only weak moments come in the prolonged introductions to some of the tracks. These rather uninspired, ballad-like preludes leave the listener longing for the passion and intensity that marks the rest of the album. Thankfully, Maiden allows us to forget them as soon as the full force of each song hits.

Iron Maiden doesn’t bother with criticism leveled at particular governments or even particular wars. This album has a greater scope. While the record hints at modern events, the brilliant execution of the ideas allows it to rise above the constraints of time and place to touch the mythology of the shared human experience. With A Matter of Life and Death, Iron Maiden reminds us why they’re still here and why they still matter. This record remains true to their classic sound but doesn’t shy away from newness. It speaks to the old, die-hard Maiden fans and new listeners alike. 4/5 Iron crosses on the heavy metal scale of power.