Diesel 11
As you scream into the web of silence...
Something between Maiden’s “Deja-Vu” and Lita Ford’s “Close My Eyes Forever” opens track five. I like the synths but otherwise it’s nothing special. The actual riff is eh. I like the guitar playing in the verses but it’s otherwise not very inspired (and nabs bits from Bruce’s “No Lies”). The lyrics are pretty mediocre for Maiden too. The bridge hearkens back to “Total Eclipse” but it’s got a lovely arrangement. The instrumental section rocks, in particular that second solo!!! But then they cut it off so short and go back to that stupid chorus. Ultimately there are awesome moments that elevate this one, but the base of the song is faulty and calls back much better songs. 6/10
Vaenyr
Ancient Mariner
A quiet intro with clean guitars and a slow distorted lead guitar on top, I wonder who (co-)wrote that song 
Honestly, the intro isn't particularly interesting and I'd argue that the song would be better off without it. It's random and doesn't fit with the rest of the song, which is something that happens in other Murray/Harris compositions as well.
Despite that, the rest of the song is strong. It picks up the pace with a fun riff that will serve as the chorus riff later. We get a few lead guitar lines during the verses, which does its own thing instead of doubling the vocals, contrary to Maiden's post-reunion tendencies. The chorus has some vocal harmonies as well. Bruce's new vocal style shines on this song and I genuinely like how he sounds here.
Admittedly, the bridge after the second chorus is kind of weird, the solo afterwards is serviceable, but the highlight is the twin lead section that follows. I miss sections like that. The second solo is far more melodic and more to my liking. Which leads to a fun key change into the chorus riff and the whammy dives heard in songs like Aces High, which are always cool. The end is pretty abrupt (another reason why I think the intro should be removed, the song should just embrace being a straightforward and short rocker) and while I still like the song, it's not as good as the previous two titles. It's still enough for an 8 though.
Random aside about the title: Is it supposed to be a reference to the band? Is it a typo? The way I see it, it could be interpreted as:
Honestly, the intro isn't particularly interesting and I'd argue that the song would be better off without it. It's random and doesn't fit with the rest of the song, which is something that happens in other Murray/Harris compositions as well.
Despite that, the rest of the song is strong. It picks up the pace with a fun riff that will serve as the chorus riff later. We get a few lead guitar lines during the verses, which does its own thing instead of doubling the vocals, contrary to Maiden's post-reunion tendencies. The chorus has some vocal harmonies as well. Bruce's new vocal style shines on this song and I genuinely like how he sounds here.
Admittedly, the bridge after the second chorus is kind of weird, the solo afterwards is serviceable, but the highlight is the twin lead section that follows. I miss sections like that. The second solo is far more melodic and more to my liking. Which leads to a fun key change into the chorus riff and the whammy dives heard in songs like Aces High, which are always cool. The end is pretty abrupt (another reason why I think the intro should be removed, the song should just embrace being a straightforward and short rocker) and while I still like the song, it's not as good as the previous two titles. It's still enough for an 8 though.
Random aside about the title: Is it supposed to be a reference to the band? Is it a typo? The way I see it, it could be interpreted as:
- Fate's Warning, the warning of fate, explicitly singular.
- Fates' Warning, the warning of the fates, plural as in Greek mythology for example.
- Fates (are) warning (...), once again plural, but without the possessive.