Iron Maiden News, Links, and Interviews
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- Start date
The_7th_one
Ancient Mariner
Yax
Ancient Mariner
Hardly. Dealing with some sort of personal issues on the other hand sounds plausible.
GhostofCain
Ancient Mariner
Meliegree
Evening The Odds.
Only hard and unexpected thing about Senjutsu is a list of things that casuals don't like about this album.
RLonger
Educated Fool
The thing is so called long - term fans don't like Senjutsu much. It seems to be an album for die hards. I bet Harris realizes that.
____no5
Free Man
No way. To be afraid of what? This album has received universal praise.
This.
Magnus
currently discounted
Hard, unexpected questions about shogi and Parthian parchments, most probably.
Or, being asked "So have you seen the writing on the wall then?" hundreds of times by journalists with a rudimentary sense of humour?
We'll never know, alas.
GhostofCain
Ancient Mariner
redandtheblack92
Came to witness the death of the Celts
Been really hooked on to the Parchment. Idk why but the song kinda reminds me of King Xerxes from 300: Rise of an Empire. Anyone else ?
MindRuler
Ancient Mariner
S: Which wall do you mean?
J: You know, The Wall
S: Pink Floyd´s?
J: No, yours
S: A wall of my house? There are plenty but none have a Writing on them. Do you mean a studio wall?
J: No that was Rush and the words of the prophet.
S: So there are more walls with writings on?
J: Apparently yes but I don´t want to talk about those.
S: What do you want to talk about then?
J: About the wall.
S: But which one?
J: The one with the Writing on.
S: Which Writing?
J: The Writing
S: Do you mean "the" Writing or "The Writing"?
J: Yes
S: The first or the latter?
J: Both,obviously
S: Why obviously?
J: Because
S: Oh, I see
J: What do you see?
S: The Writing on the Wall
J: Which Writing? Which Wall?
S: Can´t you see?
J: Let´s talk about The Parchment then...
Kalata
Out of the Silent Planet
New interview with Nicko:
-> his 2nd favorite song on the album (''The Parchment'' is #1) is ''Darkest Hour''.
His favorite snare drum sound is the one of Alex Van Halen and John Bonham.
bravewords.com
-> his 2nd favorite song on the album (''The Parchment'' is #1) is ''Darkest Hour''.
His favorite snare drum sound is the one of Alex Van Halen and John Bonham.
About the title track - ''Well, it features primarily the best-looking bloke in the band—come on! It kicks off… the first thing you hear is a massive like boom, and all this tinkly-winkly fairy stuff going on behind it. When they wrote the tune, I visualized the Kodo drums, the Japanese Kodo drums. Our marching bands go into battle with the snare drummer and a flute, a fife, and the Japanese lads would have these big massive Kodo drums. So that was where it originated. And they had this rhythm for it, which then developed. It’s a fantastic album opener because it’s totally different for Maiden. I don’t recall us ever having a track like that. I love the melodies within the tune. The actual framework within the rhythm doesn’t change very much, although there are slightly different bass drum parts that go in there and triplet fills and stuff. But it’s a cracking opener.
Can you imagine opening with that live? Can you imagine that being the first song opening live?! With the whole massive big drum feel? Oh, I should get up front with the Kodo drums. I thought about this. I talked to ‘arry about it months ago. ‘Oh, it’d be nice to have a Kodo,’ and he goes, ‘Yeah, it would be cool.’ But maybe Bruce could do it. Because if I did it, I would have to do it behind my drum set, up on the riser. If we did that, right? I’ve got to go from the boom boom boom, and then it’s like… because it’s one, two, two and three. So I couldn’t get the third one, because the guitar starts going. A little bit of a shaky time. Unless I did the whole thing with a drum set at the front of the stage. Who knows, boys and girls?! My drum company wouldn’t like that, because I’d have to have two sets of drums, one up on at the front and one up at the back''.
''One thing I love about the whole of this album is sonically, each track is different''.
''And I think the performances from all my band mates are like, superb. They’re just magic. Steve’s bass playing... I mean, I’m blessed to still be able to do what I do with this band and be their drummer. But they have all excelled themselves absolutely. And of course Kevin has put the old man up there nice in the mix and I love it. I think the drums sound fantastic''.
''Well, Steve, pretty much any time he comes in with a song, I go, ‘Oh shit, what now?’ (laughs). ‘What time are we going to be playing in halfway through the song?’ No, I love it. Steve is the challenge. I always get super-excited when Steve goes, ‘I’ve got a song I’ve written on me own.’ And I go right, I know it’s going to be epic. Because those songs Steve writes primarily on his own are always, always very structured with beautiful melodies and parts. When he came up with ‘The Parchment,’ I thought, oh my, that reminds me of ‘The Red and the Black,’ where we’ve got all these different guitar motif lines of melody and then you’ve got another one and you’ve got eight bars of that and 16 bars of that and then three solos—stunning, absolutely stunning. Bruce and Adrian, pretty much, you’re going to get 1,2,3,4, all right, see you at the end. Pretty straight, not too difficult of a song. ‘Darkest Hour,’ that’s the best ballad Bruce has ever written, with Adrian. So there’s those two. And when Janick brings something in, it’s kind of ‘Dance of Death.’ It’s got these beautiful, little motif intros… you know that Janick has written that song. And then when he collaborates with Steve, we’re off, we go running up and it’s, ‘What comes next after the 18th bar? What meter are we going to?
They’re compositions. Any piece of music is a composition, if you like, but he writes a story within the music. Now people go, ‘Why does it always have to have a slow intro? And then that same outro, and then another slow bit?’ It’s telling a story with the music - The thing is Steve, when he writes a piece of music, he has a complete sketch in his mind of where it’s going with all these different lovely different harmonies. Plus he is very considerate of the fact that we have three guitar players in the band. And he writes around for one solo from that man, one from that man and one from that man. And maybe if it’s that good, he’ll go, ‘One from that… no, that’s going to two, that’s going to two, and that’s going to two’ and he’ll pick and swap. And as they’re doing their solos, the track is building. And it’s a beautiful way… I love the way Steve composes. I don’t think he’s an earthling. I think he’s from another world. Because he comes up with these insane melodies; he’s just a genius, absolutely''.
Can you imagine opening with that live? Can you imagine that being the first song opening live?! With the whole massive big drum feel? Oh, I should get up front with the Kodo drums. I thought about this. I talked to ‘arry about it months ago. ‘Oh, it’d be nice to have a Kodo,’ and he goes, ‘Yeah, it would be cool.’ But maybe Bruce could do it. Because if I did it, I would have to do it behind my drum set, up on the riser. If we did that, right? I’ve got to go from the boom boom boom, and then it’s like… because it’s one, two, two and three. So I couldn’t get the third one, because the guitar starts going. A little bit of a shaky time. Unless I did the whole thing with a drum set at the front of the stage. Who knows, boys and girls?! My drum company wouldn’t like that, because I’d have to have two sets of drums, one up on at the front and one up at the back''.
''One thing I love about the whole of this album is sonically, each track is different''.
''And I think the performances from all my band mates are like, superb. They’re just magic. Steve’s bass playing... I mean, I’m blessed to still be able to do what I do with this band and be their drummer. But they have all excelled themselves absolutely. And of course Kevin has put the old man up there nice in the mix and I love it. I think the drums sound fantastic''.
''Well, Steve, pretty much any time he comes in with a song, I go, ‘Oh shit, what now?’ (laughs). ‘What time are we going to be playing in halfway through the song?’ No, I love it. Steve is the challenge. I always get super-excited when Steve goes, ‘I’ve got a song I’ve written on me own.’ And I go right, I know it’s going to be epic. Because those songs Steve writes primarily on his own are always, always very structured with beautiful melodies and parts. When he came up with ‘The Parchment,’ I thought, oh my, that reminds me of ‘The Red and the Black,’ where we’ve got all these different guitar motif lines of melody and then you’ve got another one and you’ve got eight bars of that and 16 bars of that and then three solos—stunning, absolutely stunning. Bruce and Adrian, pretty much, you’re going to get 1,2,3,4, all right, see you at the end. Pretty straight, not too difficult of a song. ‘Darkest Hour,’ that’s the best ballad Bruce has ever written, with Adrian. So there’s those two. And when Janick brings something in, it’s kind of ‘Dance of Death.’ It’s got these beautiful, little motif intros… you know that Janick has written that song. And then when he collaborates with Steve, we’re off, we go running up and it’s, ‘What comes next after the 18th bar? What meter are we going to?
They’re compositions. Any piece of music is a composition, if you like, but he writes a story within the music. Now people go, ‘Why does it always have to have a slow intro? And then that same outro, and then another slow bit?’ It’s telling a story with the music - The thing is Steve, when he writes a piece of music, he has a complete sketch in his mind of where it’s going with all these different lovely different harmonies. Plus he is very considerate of the fact that we have three guitar players in the band. And he writes around for one solo from that man, one from that man and one from that man. And maybe if it’s that good, he’ll go, ‘One from that… no, that’s going to two, that’s going to two, and that’s going to two’ and he’ll pick and swap. And as they’re doing their solos, the track is building. And it’s a beautiful way… I love the way Steve composes. I don’t think he’s an earthling. I think he’s from another world. Because he comes up with these insane melodies; he’s just a genius, absolutely''.
IRON MAIDEN Scheduled To Tour Senjutsu Next June - "I Think The Performances From All My Bandmates Are Superb... They’re Just Magic” Says Nicko McBrain
It’s a huge metal event when Maiden puts out an album, but I can’t remember any being debated so hotly as Senjutsu. Which is a reflection of the times, given the always-increasing ease of using social media including the proliferation of YouTube channels willing and able to give any...
bravewords.com
RLonger
Educated Fool
I think if they tour next year (since June) they just play some songs from an album and that's all. Maybe add some LotB dates in both Americas to present two or three songs from Senjutsu. The separate tour promoting this album would be a flop.New interview with Nicko:
-> his 2nd favorite song on the album (''The Parchment'' is #1) is ''Darkest Hour''.
His favorite snare drum sound is the one of Alex Van Halen and John Bonham.
About the title track - ''Well, it features primarily the best-looking bloke in the band—come on! It kicks off… the first thing you hear is a massive like boom, and all this tinkly-winkly fairy stuff going on behind it. When they wrote the tune, I visualized the Kodo drums, the Japanese Kodo drums. Our marching bands go into battle with the snare drummer and a flute, a fife, and the Japanese lads would have these big massive Kodo drums. So that was where it originated. And they had this rhythm for it, which then developed. It’s a fantastic album opener because it’s totally different for Maiden. I don’t recall us ever having a track like that. I love the melodies within the tune. The actual framework within the rhythm doesn’t change very much, although there are slightly different bass drum parts that go in there and triplet fills and stuff. But it’s a cracking opener.
Can you imagine opening with that live? Can you imagine that being the first song opening live?! With the whole massive big drum feel? Oh, I should get up front with the Kodo drums. I thought about this. I talked to ‘arry about it months ago. ‘Oh, it’d be nice to have a Kodo,’ and he goes, ‘Yeah, it would be cool.’ But maybe Bruce could do it. Because if I did it, I would have to do it behind my drum set, up on the riser. If we did that, right? I’ve got to go from the boom boom boom, and then it’s like… because it’s one, two, two and three. So I couldn’t get the third one, because the guitar starts going. A little bit of a shaky time. Unless I did the whole thing with a drum set at the front of the stage. Who knows, boys and girls?! My drum company wouldn’t like that, because I’d have to have two sets of drums, one up on at the front and one up at the back''.
''One thing I love about the whole of this album is sonically, each track is different''.
''And I think the performances from all my band mates are like, superb. They’re just magic. Steve’s bass playing... I mean, I’m blessed to still be able to do what I do with this band and be their drummer. But they have all excelled themselves absolutely. And of course Kevin has put the old man up there nice in the mix and I love it. I think the drums sound fantastic''.
''Well, Steve, pretty much any time he comes in with a song, I go, ‘Oh shit, what now?’ (laughs). ‘What time are we going to be playing in halfway through the song?’ No, I love it. Steve is the challenge. I always get super-excited when Steve goes, ‘I’ve got a song I’ve written on me own.’ And I go right, I know it’s going to be epic. Because those songs Steve writes primarily on his own are always, always very structured with beautiful melodies and parts. When he came up with ‘The Parchment,’ I thought, oh my, that reminds me of ‘The Red and the Black,’ where we’ve got all these different guitar motif lines of melody and then you’ve got another one and you’ve got eight bars of that and 16 bars of that and then three solos—stunning, absolutely stunning. Bruce and Adrian, pretty much, you’re going to get 1,2,3,4, all right, see you at the end. Pretty straight, not too difficult of a song. ‘Darkest Hour,’ that’s the best ballad Bruce has ever written, with Adrian. So there’s those two. And when Janick brings something in, it’s kind of ‘Dance of Death.’ It’s got these beautiful, little motif intros… you know that Janick has written that song. And then when he collaborates with Steve, we’re off, we go running up and it’s, ‘What comes next after the 18th bar? What meter are we going to?
They’re compositions. Any piece of music is a composition, if you like, but he writes a story within the music. Now people go, ‘Why does it always have to have a slow intro? And then that same outro, and then another slow bit?’ It’s telling a story with the music - The thing is Steve, when he writes a piece of music, he has a complete sketch in his mind of where it’s going with all these different lovely different harmonies. Plus he is very considerate of the fact that we have three guitar players in the band. And he writes around for one solo from that man, one from that man and one from that man. And maybe if it’s that good, he’ll go, ‘One from that… no, that’s going to two, that’s going to two, and that’s going to two’ and he’ll pick and swap. And as they’re doing their solos, the track is building. And it’s a beautiful way… I love the way Steve composes. I don’t think he’s an earthling. I think he’s from another world. Because he comes up with these insane melodies; he’s just a genius, absolutely''.
IRON MAIDEN Scheduled To Tour Senjutsu Next June - "I Think The Performances From All My Bandmates Are Superb... They’re Just Magic” Says Nicko McBrain
It’s a huge metal event when Maiden puts out an album, but I can’t remember any being debated so hotly as Senjutsu. Which is a reflection of the times, given the always-increasing ease of using social media including the proliferation of YouTube channels willing and able to give any...
