KILLERS

Iron Maiden quickly followed-up their self-titled debut album with 1981's 'Killers', an album compiled of various recordings either left over from the previous sessions of the band or songs already performed live and further honed in the studio. Not only this but this is a record that, above all else, explores more in depth the group's punk rock influences, which definitely help in rendering this LP a catchy, rough and hook-driven one. Famously, this is the final studio recording with vocalist Paul Di'Anno and the first appearance of guitarist Adrian Smith, although this minute lineup change is yet to become effective stylistically for what concerns Maiden's very own brand of heavy metal. 'Killers' is generally in line with the debut album and is quite similar to it in terms of scope, production, and songwriting, and while 'Iron Maiden' had several really melodic (and even softer) spots, this album is a more combatant and upbeat one.

Once again the music is riff- and hook-driven, with occasional glimpses of more technical playing, despite the fact that Maiden seem to have focused exclusively on writing shorter songs here. There is a sense of tension within the music and a broad lack of incredibly exciting ideas, and to put it plainly, 'Killers' does not even dare to overachieve what the debut album had already achieved and introduced as a stylistic trope, as musical vision and as a general progression within the world of heavy rock. Just a pretty good album that is rather similar to its predecessor, giving us interesting songs like the opening instrumental 'The Ides of March', the extremely catchy (and overly punky) 'Wrathchild' and 'Murders in the Rue Morgue', as well as the strong title track with its fine riffs and generous bass sounds. 'Prodigal Son' offers a counterforce to the overall heaviness but then come putrid songs like 'Purgatory' and 'Drifter', completely ruining the ending of an otherwise imperfect studio album. Perhaps 'Killers' was never meant to be as good, despite the occasional glimpses of fine writing and inspired playing, this is the album showing the signs of why this iteration of Maiden could not have lived on.

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