New album: The Final Frontier!
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Suicidehummer
Trooper
dhmaiden said:
Awesome, I hope they're right, because Twarkle brought up a good point. If the WTWWB chorus was just the title 8X I would be SO disappointed because the intro has really raised my hopes. Although a fair compromise could be repeating the title 4X and changing the melody, then repeating the title 4X over that melody. Wouldn't mind that so much.
Reumeren said:
To AC/DC, that makes a chorus, lol.
Suicidehummer
Trooper
Weird. Better no chorus than a repetitive one though.
Jeffmetal
Ancient Mariner
Review from brasilian Rock Brigade magazine:
Review from italian website - http://www.eddies.it/index.php?option=c ... s&Itemid=2
Continuing
By Renato Ávila
I had the opportunity to listen to the latest Iron Maiden opus on the premises of EMI, here in São Paulo. As soon as I arrived, The Final Frontier, fifteenth Maiden album, was presented as the best since Seventh Son...
Overall, the album is really 'proggy', like the last two, however in much higher spirit than its predecessors. In many parts, it recalls Piece Of Mind, and in others, Somewhere In Time, but with the edge that carachterizes the new stage in Maiden's sound.
1 - Satellite 15…The Final Frontier
This song contains an intro totally different from everything Maiden ever done, with drumming that recalls tribal percussions and guitars totally nuts. Suddenly, the melody changes in drastic manner and new chords are presented - that's an artifice that imprints the whole album.
2 - El Dorado
Very well known, as it was made available as a download via ironmaiden.com, it divided opinions amongst the most traditional fans and the newer ones, which embraced really well the new Maiden phase. The song is marked by twists and turns and guitar solos, which makes the song very interesting regarding the new purpose.
3 - Mother Of Mercy
Contains one very beautiful acoustic intro that open doors to a heavy and taciturn song with lyrics about war. Murray's solo is the highlight, whom was utterly inspired when recording it.
4 - Coming Home
A progressive little ballad with remakable lyrics and very well executed guitar solos with a totally different approach and very modern. It takes us to another states of mind, and it's one of the most beautiful in the album.
5 - The Alchemist
The most NWOBHM of the album: however, don't expect for a hit as in the 80's. Even calling us back to that epoch, this tune has its share of 'proggy' load. In fact, it's this 'new' Maiden phase that's here to stay. It's up to the older, more revisionist fans to attune to all these changes.
6 - Isle Of Avalon
This long song presents us striking turns in very fast rhythms, guitar solos and countless sonic passages, which lead us on a very interesting journey into the purpose of the album. Different from every other song in this record.
7 - Starblind
Another long song, with intense twists and new experiements on the latent sounding of the record; one of the heaviest with very remarkable riffs and solos from A to Z.
8 - The Talisman
The recited intro soon gives room to a very encircling wall of sound, which invites the listener to breath new and fresh air. It could be easily on a Maiden set, very enticing.
9 - The Man Who Would Be King
Compared to the others, it's the weakest on the album, however it has a remarkable intro and loads of riffs and twists. A song which can be considered 'poppier', but with the heaviness from the Maiden we know.
10 - When The Wild Wind Blows
The longest track on the album and the one which is stirring more curiosity among the fans which still didn't listen to it; this song reminds a lot Fear Is The Key from Fear Of The Dark album. Stunning, an invitation to bittersweetness! As everyone knows, this song lasts 11 minutes, and during it, loads of twists and turns.
I had the opportunity to listen to the latest Iron Maiden opus on the premises of EMI, here in São Paulo. As soon as I arrived, The Final Frontier, fifteenth Maiden album, was presented as the best since Seventh Son...
Overall, the album is really 'proggy', like the last two, however in much higher spirit than its predecessors. In many parts, it recalls Piece Of Mind, and in others, Somewhere In Time, but with the edge that carachterizes the new stage in Maiden's sound.
1 - Satellite 15…The Final Frontier
This song contains an intro totally different from everything Maiden ever done, with drumming that recalls tribal percussions and guitars totally nuts. Suddenly, the melody changes in drastic manner and new chords are presented - that's an artifice that imprints the whole album.
2 - El Dorado
Very well known, as it was made available as a download via ironmaiden.com, it divided opinions amongst the most traditional fans and the newer ones, which embraced really well the new Maiden phase. The song is marked by twists and turns and guitar solos, which makes the song very interesting regarding the new purpose.
3 - Mother Of Mercy
Contains one very beautiful acoustic intro that open doors to a heavy and taciturn song with lyrics about war. Murray's solo is the highlight, whom was utterly inspired when recording it.
4 - Coming Home
A progressive little ballad with remakable lyrics and very well executed guitar solos with a totally different approach and very modern. It takes us to another states of mind, and it's one of the most beautiful in the album.
5 - The Alchemist
The most NWOBHM of the album: however, don't expect for a hit as in the 80's. Even calling us back to that epoch, this tune has its share of 'proggy' load. In fact, it's this 'new' Maiden phase that's here to stay. It's up to the older, more revisionist fans to attune to all these changes.
6 - Isle Of Avalon
This long song presents us striking turns in very fast rhythms, guitar solos and countless sonic passages, which lead us on a very interesting journey into the purpose of the album. Different from every other song in this record.
7 - Starblind
Another long song, with intense twists and new experiements on the latent sounding of the record; one of the heaviest with very remarkable riffs and solos from A to Z.
8 - The Talisman
The recited intro soon gives room to a very encircling wall of sound, which invites the listener to breath new and fresh air. It could be easily on a Maiden set, very enticing.
9 - The Man Who Would Be King
Compared to the others, it's the weakest on the album, however it has a remarkable intro and loads of riffs and twists. A song which can be considered 'poppier', but with the heaviness from the Maiden we know.
10 - When The Wild Wind Blows
The longest track on the album and the one which is stirring more curiosity among the fans which still didn't listen to it; this song reminds a lot Fear Is The Key from Fear Of The Dark album. Stunning, an invitation to bittersweetness! As everyone knows, this song lasts 11 minutes, and during it, loads of twists and turns.
Review from italian website - http://www.eddies.it/index.php?option=c ... s&Itemid=2
With extreme helpfulness and friendliness, EMI gave Italy the opportunity to hear Eddie's The Final Frontier twenty days in advance of the exit in shops all over the world: the interest and curiosity were obviously the stars and to discover traces track after the fifteenth studio album of their favorite band on a sound system all over the offices of what is, in effect, the factory many years of emotions in all media audio / video, has been a exciting and a little 'intimorente.
How many of you, despite the many cue due to the collaboration with various artists or magazines, I always had the pleasure of discarding carefully 'the latest album by Iron Maiden' sitting on the bed the day of its official release, then dive in a parallel world with their eyes closed throughout its duration. Surely not to write and record notes allowed me to reproduce the same ritual, but a good pair of headphones I quite isolated from the rest of the world for me to spend nearly eighty minutes only to English sextet and his new creation 'space'.
The premise that I would do after listening to The Final Frontier is pretty mandatory, although it may be unnecessary or trivial to someone: Iron Maiden have never recorded an album that my feet rested on the work that preceded him. If you examine carefully their discography, you can do yourself links related to sound, production, composition and performance styles, choice of sounds and instruments, length of songs and their placement in the tracklist, arrangements and themes: in each album the band is You can find something that popped up earlier, reworked or brought to a different level of intensity. In particular, the development of post-reunion album was characterized by clear and precise elements:
- Brave New World (2000) has developed many sound introduced by Virtual XI with the reworking of material made in key Dickinson Blaze era.
- Dance Of Death (2003) has maintained the immediacy and compactness of some typical tracks of its predecessor, however, emphasizing further the epic drama traces the longest and most elaborate introductions characterized by slow and atmospheric, with arpeggiated guitar and bass and voice of Bruce on bass and 'narrative'.
- A Matter Of Life And Death (2006) exacerbated almost exclusively features songs like 'Dance Of Death', 'Paschendale' and 'Face In The Sand', creating a lineup of long pieces, with introductions and often slow melodic / atmospheric changes and various breaks and riffs, with the result of creating more heterogeneity within them, blocks of verses repeated several times along with the choruses, two or three guitar solos, riffs various parts harmonized and final reprise the intro of each song.
Considering these elements, declarations of love against AMOLAD Maiden (A Matter Of Life And Death) and the choice to re-propose the entire live (very unusual and unprecedented for the band), was due to have practically The Final Frontier certainty that could in any way constitute a collage of ten individual four-minute duration each, on the contrary, further exacerbate the features of its predecessor. Many fans had a suspicion or hint (mystical?) Make an album that Maiden 'old style' more immediate, fast, easy and next to pieces by the abandonment of previous Best Of Dickinson, and tried in every way to convince itself of this supposed choice, even interpreted the location of the recording studios (Compass Point Studios, Bahamas) as an unequivocal sign of 'throwback'. Unfortunately for them, The Final Frontier is just the opposite, anyone reading this alone will notice very soon. Putting aside the individual (already misleading in the past with the features of their albums) 'El Dorado' and 'The Final Frontier' (edited version with about four minutes less than the CD), the new work is a long hard complex, unusual, difficult, experimental, complicated and light years away from the immediacy of many passages which we now call 'ultra classics' of the band. I do not want to use the term abused 'prog' because for me progressive is still something else, but certainly the structures of many songs are much less linear and predictable than you might expect from Iron Maiden. If AMOLAD had asked the ideal number of ten plays to be metabolized and digested in full, The Final Frontier would require twenty. Each draw its own conclusions based on their own tastes and inclinations, but be aware that this tour the band decided to really try to levels virtually never seen before in its history, with the use of electronic sounds and samples, guitars effected in different ways and present virtually everywhere, tons of licks and phrases of any kind and the triumph of atypical structures, varied, with ever-changing melody, vocals and riffs, wrapped in the usual intro / outro and reflective lens typical of the last During the Iron Maiden. Good? Bad? It is not for me to say, or to some 'spin doctors of nothing' in this work (only heard a preview than a couple of times!) It sees only money, old age, weakness, commercialism and lack of ideas (probably on the Mars commercial songs lasting an average of seven minutes, not to mention the insignificance of those hundreds of thousands of 'poor stoned' that only in recent weeks, they sang songs after reunion concert). It's up to you, as always, assess their work, according to the aspects that most beloved of Iron Maiden. Personally, I can tell you that I do not like the disk to complete, particularly individuals, but are anxious to suffer because some songs have left me literally open-mouthed and are convinced that, after several plays, I amaze even more. The credits on the disc, I think, are indicative of the extreme care in experimental guitar and vein of the album: beyond the omnipresence of Steve Harris, in fact, there are six tracks that Adrian Smith is listed as the main composer and this, for the more informed, automatically mean the rise of fanatical attention to detail and more emphasis on guitar sounds and the presence of parts. Have a little 'patience, just missing the 16 August ... then I will amuse me to read your opinions!
1) SATELLITE 15 ... THE FINAL FRONTIER (Smith / Harris - 8:40 Min): You have this single with the video style 'Indiana Jones' space'? Well, that comes from 4.15 minutes onwards. Before you are faced with a super introduction from the spatial sound, with powerful electronic bass, tribal drumming imperious taste, chord sequences and an atmosphere of waiting very cinematic. The entry of the voice of Bruce's amazing and evocative, and hearing the vocal lines, one can not think of his solo production. The feeling is that Maiden are playing with something new, never before experienced by them. The rhythm is martial, and growing, number of discharges and powerful guitar licks invade the field: after hearing it in this version, 'The Final Frontier' seems ingiudicabile without intro 'Satellite 15 ...'. Through the first four minutes, the entire block of the first song is much more contextualized in space theme that characterizes the new album artwork. On the rest of the song there is little to say, you've heard it all: song rocking mid-level, with excellent solos. As regards production, support fully the words uttered by Bruce on stage during the American leg of the tour: the hard real sounds much better than MP3 of 'El Dorado' the band released a network. With a good system the battery is really super, the sound of the bass is perfect and the guitars sound clean and powerful sound of the care is similar to AMOLAD, and far from the sound a bit 'rough Dance of Death.
2) EL DORADO (Smith / Harris / Dickinson - 6:49 Min): useless to present a song that you hear for almost two months on the net!
3) MOTHER OF MERCY (Smith / Harris - 5.20 min): The song kicks off with a riff that recalls immediately the atmosphere and melody of 'No More Lies'. The vocal line played by Bruce is excellent and, despite what is offered on the individual, our singer seems really inspired. By the second verse we have a crescendo of drums and other guitars that vent discharges with some riffs, diversifying between them. Shortly after take off the usual pace galloping Maiden-style and find a kind of melodic bridge with open chords. The chorus sees Bruce hoarse and now features more aggressive melodies with the rest of the song. The structures are very different and more continue, the more you notice the variety of vocal lines sung by Dickinson. The solo is played by Janick and almost certainly not bad. At about 3:20 minutes there is a reprise of the intro, followed by a large opening on the pre chorus and a melodic chorus effective. Nick notes with fine drum fill, to face those who accuse him of not being able to play anymore (and then, maybe, live reviews on the classics with honors). The final track is dry and the song overall is good, curiosity is the star next to the tracks!
4) COMING HOME (Smith / Harris / Dickinson - 5.52 min): the beginning this time is characterized by the presence of all the instruments together, along with wallpapers keyboard. Do not know about you, but hear and read these keyboards that Adrian is the first composer of the song, I do not think a case, maybe I have too much déjà vu associated with Somewhere In Time (not a joke!) And her career of late AOR eighties, but these are considerations to be explored elsewhere. 'Coming Home' is basically a ballad with acoustic and electric guitars intertwined with great care and expertise. The song is obviously a wrenching piece style Scorpions or Europe, but a power ballad with verses that are developed on distorted guitars. The chorus is really epic, melodic and romantic, perhaps the best of this type of song the band ever wrote, and Dickinson is an excellent interpreter of the feelings evoked by the song, with nuances in vocals that recall 'The Legacy' and 'Out Of The Shadows' of AMOLAD. Dave Murray is almost certain to throw the first solo with a sound very similar to that of Jimi Hendrix, closely followed by solo super inspired Smith. The final chorus comes in a powerful, enhanced by the structure of the whole song. In essence, the song is beautiful, one of the most successful, studied and treated the album and, although a sound similar to AMOLAD, clearly feels that something more and always want to change your songwriting by the band.
5) The Alchemist (Gers / Harris / Dickinson - 4.29 min) from the first seconds of listening, the song refers to the sounds of 'The Mercenary'. The tempo of the song this time is quick, no arpeggios or melodic introductions: The track is powerful and runs in a linear fashion, with the bass that stands out and has fun to paint shares very effective. Pre chorus explodes with great vocal line and the inevitable intertwining guitars Maiden-style: the song becomes imperious, and in this case we can say that 'The Alchemist' was not disfigured in the band's old repertoire. Some guitar parts reminiscent of the verses of 'Man On The Edge': the song will definitely tritaossa live. The solo by Janick of (I do not have absolute certainty, but given the credits and the sound seems obvious) is simply perfect for this kind of song and is followed by harmonized guitars that could well be recorded as' trademark 'the English sextet. The closure is clear: we wanted a tirade like this!
How many of you, despite the many cue due to the collaboration with various artists or magazines, I always had the pleasure of discarding carefully 'the latest album by Iron Maiden' sitting on the bed the day of its official release, then dive in a parallel world with their eyes closed throughout its duration. Surely not to write and record notes allowed me to reproduce the same ritual, but a good pair of headphones I quite isolated from the rest of the world for me to spend nearly eighty minutes only to English sextet and his new creation 'space'.
The premise that I would do after listening to The Final Frontier is pretty mandatory, although it may be unnecessary or trivial to someone: Iron Maiden have never recorded an album that my feet rested on the work that preceded him. If you examine carefully their discography, you can do yourself links related to sound, production, composition and performance styles, choice of sounds and instruments, length of songs and their placement in the tracklist, arrangements and themes: in each album the band is You can find something that popped up earlier, reworked or brought to a different level of intensity. In particular, the development of post-reunion album was characterized by clear and precise elements:
- Brave New World (2000) has developed many sound introduced by Virtual XI with the reworking of material made in key Dickinson Blaze era.
- Dance Of Death (2003) has maintained the immediacy and compactness of some typical tracks of its predecessor, however, emphasizing further the epic drama traces the longest and most elaborate introductions characterized by slow and atmospheric, with arpeggiated guitar and bass and voice of Bruce on bass and 'narrative'.
- A Matter Of Life And Death (2006) exacerbated almost exclusively features songs like 'Dance Of Death', 'Paschendale' and 'Face In The Sand', creating a lineup of long pieces, with introductions and often slow melodic / atmospheric changes and various breaks and riffs, with the result of creating more heterogeneity within them, blocks of verses repeated several times along with the choruses, two or three guitar solos, riffs various parts harmonized and final reprise the intro of each song.
Considering these elements, declarations of love against AMOLAD Maiden (A Matter Of Life And Death) and the choice to re-propose the entire live (very unusual and unprecedented for the band), was due to have practically The Final Frontier certainty that could in any way constitute a collage of ten individual four-minute duration each, on the contrary, further exacerbate the features of its predecessor. Many fans had a suspicion or hint (mystical?) Make an album that Maiden 'old style' more immediate, fast, easy and next to pieces by the abandonment of previous Best Of Dickinson, and tried in every way to convince itself of this supposed choice, even interpreted the location of the recording studios (Compass Point Studios, Bahamas) as an unequivocal sign of 'throwback'. Unfortunately for them, The Final Frontier is just the opposite, anyone reading this alone will notice very soon. Putting aside the individual (already misleading in the past with the features of their albums) 'El Dorado' and 'The Final Frontier' (edited version with about four minutes less than the CD), the new work is a long hard complex, unusual, difficult, experimental, complicated and light years away from the immediacy of many passages which we now call 'ultra classics' of the band. I do not want to use the term abused 'prog' because for me progressive is still something else, but certainly the structures of many songs are much less linear and predictable than you might expect from Iron Maiden. If AMOLAD had asked the ideal number of ten plays to be metabolized and digested in full, The Final Frontier would require twenty. Each draw its own conclusions based on their own tastes and inclinations, but be aware that this tour the band decided to really try to levels virtually never seen before in its history, with the use of electronic sounds and samples, guitars effected in different ways and present virtually everywhere, tons of licks and phrases of any kind and the triumph of atypical structures, varied, with ever-changing melody, vocals and riffs, wrapped in the usual intro / outro and reflective lens typical of the last During the Iron Maiden. Good? Bad? It is not for me to say, or to some 'spin doctors of nothing' in this work (only heard a preview than a couple of times!) It sees only money, old age, weakness, commercialism and lack of ideas (probably on the Mars commercial songs lasting an average of seven minutes, not to mention the insignificance of those hundreds of thousands of 'poor stoned' that only in recent weeks, they sang songs after reunion concert). It's up to you, as always, assess their work, according to the aspects that most beloved of Iron Maiden. Personally, I can tell you that I do not like the disk to complete, particularly individuals, but are anxious to suffer because some songs have left me literally open-mouthed and are convinced that, after several plays, I amaze even more. The credits on the disc, I think, are indicative of the extreme care in experimental guitar and vein of the album: beyond the omnipresence of Steve Harris, in fact, there are six tracks that Adrian Smith is listed as the main composer and this, for the more informed, automatically mean the rise of fanatical attention to detail and more emphasis on guitar sounds and the presence of parts. Have a little 'patience, just missing the 16 August ... then I will amuse me to read your opinions!
1) SATELLITE 15 ... THE FINAL FRONTIER (Smith / Harris - 8:40 Min): You have this single with the video style 'Indiana Jones' space'? Well, that comes from 4.15 minutes onwards. Before you are faced with a super introduction from the spatial sound, with powerful electronic bass, tribal drumming imperious taste, chord sequences and an atmosphere of waiting very cinematic. The entry of the voice of Bruce's amazing and evocative, and hearing the vocal lines, one can not think of his solo production. The feeling is that Maiden are playing with something new, never before experienced by them. The rhythm is martial, and growing, number of discharges and powerful guitar licks invade the field: after hearing it in this version, 'The Final Frontier' seems ingiudicabile without intro 'Satellite 15 ...'. Through the first four minutes, the entire block of the first song is much more contextualized in space theme that characterizes the new album artwork. On the rest of the song there is little to say, you've heard it all: song rocking mid-level, with excellent solos. As regards production, support fully the words uttered by Bruce on stage during the American leg of the tour: the hard real sounds much better than MP3 of 'El Dorado' the band released a network. With a good system the battery is really super, the sound of the bass is perfect and the guitars sound clean and powerful sound of the care is similar to AMOLAD, and far from the sound a bit 'rough Dance of Death.
2) EL DORADO (Smith / Harris / Dickinson - 6:49 Min): useless to present a song that you hear for almost two months on the net!
3) MOTHER OF MERCY (Smith / Harris - 5.20 min): The song kicks off with a riff that recalls immediately the atmosphere and melody of 'No More Lies'. The vocal line played by Bruce is excellent and, despite what is offered on the individual, our singer seems really inspired. By the second verse we have a crescendo of drums and other guitars that vent discharges with some riffs, diversifying between them. Shortly after take off the usual pace galloping Maiden-style and find a kind of melodic bridge with open chords. The chorus sees Bruce hoarse and now features more aggressive melodies with the rest of the song. The structures are very different and more continue, the more you notice the variety of vocal lines sung by Dickinson. The solo is played by Janick and almost certainly not bad. At about 3:20 minutes there is a reprise of the intro, followed by a large opening on the pre chorus and a melodic chorus effective. Nick notes with fine drum fill, to face those who accuse him of not being able to play anymore (and then, maybe, live reviews on the classics with honors). The final track is dry and the song overall is good, curiosity is the star next to the tracks!
4) COMING HOME (Smith / Harris / Dickinson - 5.52 min): the beginning this time is characterized by the presence of all the instruments together, along with wallpapers keyboard. Do not know about you, but hear and read these keyboards that Adrian is the first composer of the song, I do not think a case, maybe I have too much déjà vu associated with Somewhere In Time (not a joke!) And her career of late AOR eighties, but these are considerations to be explored elsewhere. 'Coming Home' is basically a ballad with acoustic and electric guitars intertwined with great care and expertise. The song is obviously a wrenching piece style Scorpions or Europe, but a power ballad with verses that are developed on distorted guitars. The chorus is really epic, melodic and romantic, perhaps the best of this type of song the band ever wrote, and Dickinson is an excellent interpreter of the feelings evoked by the song, with nuances in vocals that recall 'The Legacy' and 'Out Of The Shadows' of AMOLAD. Dave Murray is almost certain to throw the first solo with a sound very similar to that of Jimi Hendrix, closely followed by solo super inspired Smith. The final chorus comes in a powerful, enhanced by the structure of the whole song. In essence, the song is beautiful, one of the most successful, studied and treated the album and, although a sound similar to AMOLAD, clearly feels that something more and always want to change your songwriting by the band.
5) The Alchemist (Gers / Harris / Dickinson - 4.29 min) from the first seconds of listening, the song refers to the sounds of 'The Mercenary'. The tempo of the song this time is quick, no arpeggios or melodic introductions: The track is powerful and runs in a linear fashion, with the bass that stands out and has fun to paint shares very effective. Pre chorus explodes with great vocal line and the inevitable intertwining guitars Maiden-style: the song becomes imperious, and in this case we can say that 'The Alchemist' was not disfigured in the band's old repertoire. Some guitar parts reminiscent of the verses of 'Man On The Edge': the song will definitely tritaossa live. The solo by Janick of (I do not have absolute certainty, but given the credits and the sound seems obvious) is simply perfect for this kind of song and is followed by harmonized guitars that could well be recorded as' trademark 'the English sextet. The closure is clear: we wanted a tirade like this!
Continuing
6) ISLE OF AVALON (Smith / Harris - 9:06 min): Returns in this and that, obviously, Maiden prefer to do today. 'Isle of Avalon' kicks off with mysterious intro characterized by a low guitar reverberated in the clear and having a good time to invade the stage with several melodic phrases. The atmosphere is a mixture of 'Seventh Son Of A Seventh Son' and 'The Legacy'. This was followed soon electronic effects, with an excellent growing up now, the track is tough, unusual, pretty cool! The introduction continues, but not tired and Nick has fun with guitarists to introduce several more shares to break the trend of the song. With this method, even the verses are never truly alike, but are enriched and made interesting here, just click the thinking can live performance and memory of iron necessary for our heroes. At about 2:42 minutes there is a bang, with Bruce you launch into yet vocal 'spoken' typical of the beginning of many songs after reunion, and continues the perennial change of structures of the song. There are also some keyboards in the background and, in general, called the atmosphere of this piece is a bit closer 'to what we mean by' progressive 'Nick crushes on skins in an irregular way, with continuous advances and fill flavor improvised , and the rest of the instruments is freewheeling, as if everyone is chasing each other. The overall sound is elegant, mature and evolved, including a variety of guitar effects which, in my opinion, still bear the name of Mr. Smith. After 5:30 min. within the (I said it was gone?) and we have a reprise of the introduction of the original. At this point, I pinned the paper: "This is a record that will surprise fans and love the most ... is that really so?! What is certain and evident is the desire to get out of the band patterns, interpreted in many ways, but I believe not in search of easy money or lack of desire to do: care for the production and the length of the songs suggest the opposite. Towards the 7:25 min. we have a clear reference to a beautiful melody of 'No More Lies', and to the eight minutes the song runs a little 'push her, dragging a bit' towards the final shutting Maiden-style. The song is heard again several times but, for me, is super organized.
7) STARBLIND (Smith / Harris / Dickinson - 7.48 min): a new introduction with arpeggios, atmospheric keyboards and melodies. Bruce is greatly enhanced in its parts. Towards the fifty seconds soars a guitar riff energetic style 'Lord Of Light', even if the song keeps up a kind of mid tempo irregular, without taking off. The chorus is melodic and has the same structure of verse, including guitar licks, but soon changes and evolves differently. Again, we are faced with very linear tracks, hard to swallow for fans of 'The Trooper' and most of the ultra-classic: always new elements also emerge in repeated structures, and it is not easy to keep up with the songs. At 4:05 min. we have a change of riff that recalls the structure of 'Paschendale', with total pauses and restarts different from the rest of the song. Predictably, they begin solos: the sound developed at most AMOLAD is always present. After exactly one minute (we are at 5:05) we have yet another melodic variation, effective with guitars and keyboards are always present, while in 5:56 min. there is a new triumph of arpeggios and licks, before returning the item. Who does not love the new direction the band has a good chance to get bored a lot.
8) The Talisman (Gers / Harris - 9:03 Min): arpeggiated intro yet! Bruce is minstrel, the atmosphere is quite fantasy, acoustic guitar and it really feels very similar to that of 'The Legacy'. This time the introduction is too lengthy: you have to wait 2:21 min. before the powerful of all instruments. The performance of the song reminds me a little '' Lord Of Light '. The vocal melody of the refrain to 2.54 min. is simply amazing, the most beautiful of the last decade regarding the Maiden, and the second and third chorus followed by harmonized guitars really exciting: finally a chorus to sing out loud! Nicko has fun here and there with the pedal, we have a nice exchange in the center and the song is fresh, making the initial introduction is not really necessary. I think the many tribute bands maideniane about to study some new music: guys, you difficult to play and to remember everything! Towards the 5:35 min. get a completely different vocal, instrumental, followed by a chaotic and decidedly too messy (everyone sounds a bit 'on his own, with some harmonies' dissonant). At 6:44 minutes we have a cut that recalls 'The unbeliever,' and the verse starts with a new ride. I repeat: "But how many variations must keep in mind?" The song remains intriguing and finds its climax in the last chorus, with Bruce that, immediately after, somewhat 'free-wheeling with his voice, before a end similar to 'The Clairvoyant'. Confused? Look, I will be more!
9) THE MAN WHO WOULD BE KING (Murray / Harris - 8.28 min): try to guess! Keyboard intro, melodic arpeggio, guitar sets the main melody, whispered voice ... now is the standard! The vocal line is beautiful, but I would have much preferred a song set in a different way, in this position. To 1:35 min. take off of the melodies harmonized guitar and bass tossed in typical Accordone that Harris likes to play now since Fear Of The Dark. Nicko takes time with his hat, then move on and grow on the snare drum: 2.24 minutes to hand the song itself. The riffing is always stopped, as in many parts of the disk and AMOLAD. The chorus is melodic, but definitely not the best. Around the 3:58 minute we have a break from prog flavor changing the whole course of the song and start wild solos and melodies dreamy background. About five minutes duration bursts of guitars and harmonize the verse begins shortly thereafter. Findings? It's a song of the second level, a bit 'boring and too long for what it offers: I think, certainly will not be remembered among the highlights of the disc. Towards the end we re-harmonized melodies and arpeggios that recall for a moment the best Metallica (!).
10) When The Wild Wind Blows (Harris - 10:59 Min): The last song, which once was the song 'epic' album, but in this context only takes a few minutes more than many parts of the disc. This time the introduction is via a beautiful sample that reproduces the wind (much more than 'Alexander The Great') and sees the entry of agreements bass riffs and arrangements that bring to mind the sound of Somewhere In Time. The guitar melody that develops into the forty-six seconds is fantastic and goes hand in hand with the vocal line to Bruce: the effect is great. Reverberated guitars intertwine together to throttle the wind is always present in the background and Bruce continues to sing in unison with the guitar melody ... really wonderful! His voice is warm and full, and inspiration at the highest levels. Towards the 2:15 min. duration are entering the distortions, keeping the same melody of the intro with Bruce rising hue and sings in his most characteristic style, never losing sight of the guideline guitar. Towards the 3:41 min. find a new gearbox, which sees the protagonist always with guitar melodies that continue not to give up the vocals. Later, we find the current absolute (Adrian?) And a beautiful 100% harmonization Maiden, which soon develops a new solo. The Final Frontier is the triumph of melodic guitar solo and, I must say! We hear echoes also of No Prayer For The Dying harmonization ... the song is long, but much less boring than the last, exuding much more epic. At 8:40 min. find new solos, perhaps avoidable, and shortly after nine minutes comes a new melody with bass and guitar in unison. After about thirty seconds to distribute the initial intro, complete with a suction effect, and the song draws to a close with Bruce and the beautiful melody carrying a guitar that blend well together without ever getting lost. In closing, as expected, only the wind fades into fade out. Absolutely magnificent and suffer!
A few notes to finish this long preview, I hope it has not traumatized too: The disc lasts 76.37 minutes and despite a tracklist is not very balanced, in my opinion leaves behind the desire to be listened to repeatedly. The songs are definitely the two most immediate individual and 'The Talisman', the rest is much more difficult to assimilate and analyze. The songs skip from there and I do not think that album in hand, listening very 'El Dorado' (much better live for the shot, even as YouTube!) And especially 'The Man Who Would Be King'. The evolution over AMOLAD feels particularly with regard to attention to detail, the use of guitars and the improvement of production in general. The band does not try to imitate the Rush and the rest as some have summarily set (but not to go on line in the middle of songs) but the elements that draw in the last ten years have increased exponentially in proportion to hard compounds: long intro, slow parts and atmospheric, catchy melodies and songs not too fast, with several changes of riffs and structures, sometimes evident and obvious, others are characterized only by the addition of some unusual step and more guitar track here and there. Like Maiden not playing at the Beginning punkettoni eighties, now do not play to improvise Dream Theater because they write songs long, linear low and with some early drum: progressive is something else and when the band refers to such interviews, I do it only to express a simple concept to understand for all the tendency to want to experiment, improvise and write material that is not characterized by verse / bridge / chorus / solo / close as many of the masterpieces born at an early age. I repeat: this is not a sign of superiority manifested in the 'new course', let alone intrinsic crap. It is a choice, I presume shared by everyone in the band and especially advocated by Dickinson, Harris and Smith, who above all should be happy that the band enters the studio and onstage. Remains convinced that going to get bogged down writing songs feet of seven to eight minute average with a thousand guitars and changing structures is not exactly a sign of laziness or unwillingness, as I think that, if necessary, Maiden are still able to write an album that comes close to The Number Of The Beast for shooting and immediacy of the songs: just do not like it. Why is not interested, and probably do not see why. And that, as with all big names, can not help but disappoint many fans happy and make of all ages, with the premise that if the new discs by Deep Purple (and others) continue to sell less and the band keeps only a good following of people who want to live hear Gillan sing 'Smoke On The Water', those of Maiden reach unprecedented rankings in many countries around the world, going like hot cakes in the Internet and free download, flash, with covers not striking and haunting artwork certainly not like the decade ottantiana. This, at least, makes us understand why the band is so convinced of the value of what is proposed, probably with the certainty that money is equal and valuable for all those who are insecure or despise these days, not buy: Download and basket .
A sincere thank you to Ivan and Raffaella EMI Music Italy for their kindness, professionalism and all the time allotted!
7) STARBLIND (Smith / Harris / Dickinson - 7.48 min): a new introduction with arpeggios, atmospheric keyboards and melodies. Bruce is greatly enhanced in its parts. Towards the fifty seconds soars a guitar riff energetic style 'Lord Of Light', even if the song keeps up a kind of mid tempo irregular, without taking off. The chorus is melodic and has the same structure of verse, including guitar licks, but soon changes and evolves differently. Again, we are faced with very linear tracks, hard to swallow for fans of 'The Trooper' and most of the ultra-classic: always new elements also emerge in repeated structures, and it is not easy to keep up with the songs. At 4:05 min. we have a change of riff that recalls the structure of 'Paschendale', with total pauses and restarts different from the rest of the song. Predictably, they begin solos: the sound developed at most AMOLAD is always present. After exactly one minute (we are at 5:05) we have yet another melodic variation, effective with guitars and keyboards are always present, while in 5:56 min. there is a new triumph of arpeggios and licks, before returning the item. Who does not love the new direction the band has a good chance to get bored a lot.
8) The Talisman (Gers / Harris - 9:03 Min): arpeggiated intro yet! Bruce is minstrel, the atmosphere is quite fantasy, acoustic guitar and it really feels very similar to that of 'The Legacy'. This time the introduction is too lengthy: you have to wait 2:21 min. before the powerful of all instruments. The performance of the song reminds me a little '' Lord Of Light '. The vocal melody of the refrain to 2.54 min. is simply amazing, the most beautiful of the last decade regarding the Maiden, and the second and third chorus followed by harmonized guitars really exciting: finally a chorus to sing out loud! Nicko has fun here and there with the pedal, we have a nice exchange in the center and the song is fresh, making the initial introduction is not really necessary. I think the many tribute bands maideniane about to study some new music: guys, you difficult to play and to remember everything! Towards the 5:35 min. get a completely different vocal, instrumental, followed by a chaotic and decidedly too messy (everyone sounds a bit 'on his own, with some harmonies' dissonant). At 6:44 minutes we have a cut that recalls 'The unbeliever,' and the verse starts with a new ride. I repeat: "But how many variations must keep in mind?" The song remains intriguing and finds its climax in the last chorus, with Bruce that, immediately after, somewhat 'free-wheeling with his voice, before a end similar to 'The Clairvoyant'. Confused? Look, I will be more!
9) THE MAN WHO WOULD BE KING (Murray / Harris - 8.28 min): try to guess! Keyboard intro, melodic arpeggio, guitar sets the main melody, whispered voice ... now is the standard! The vocal line is beautiful, but I would have much preferred a song set in a different way, in this position. To 1:35 min. take off of the melodies harmonized guitar and bass tossed in typical Accordone that Harris likes to play now since Fear Of The Dark. Nicko takes time with his hat, then move on and grow on the snare drum: 2.24 minutes to hand the song itself. The riffing is always stopped, as in many parts of the disk and AMOLAD. The chorus is melodic, but definitely not the best. Around the 3:58 minute we have a break from prog flavor changing the whole course of the song and start wild solos and melodies dreamy background. About five minutes duration bursts of guitars and harmonize the verse begins shortly thereafter. Findings? It's a song of the second level, a bit 'boring and too long for what it offers: I think, certainly will not be remembered among the highlights of the disc. Towards the end we re-harmonized melodies and arpeggios that recall for a moment the best Metallica (!).
10) When The Wild Wind Blows (Harris - 10:59 Min): The last song, which once was the song 'epic' album, but in this context only takes a few minutes more than many parts of the disc. This time the introduction is via a beautiful sample that reproduces the wind (much more than 'Alexander The Great') and sees the entry of agreements bass riffs and arrangements that bring to mind the sound of Somewhere In Time. The guitar melody that develops into the forty-six seconds is fantastic and goes hand in hand with the vocal line to Bruce: the effect is great. Reverberated guitars intertwine together to throttle the wind is always present in the background and Bruce continues to sing in unison with the guitar melody ... really wonderful! His voice is warm and full, and inspiration at the highest levels. Towards the 2:15 min. duration are entering the distortions, keeping the same melody of the intro with Bruce rising hue and sings in his most characteristic style, never losing sight of the guideline guitar. Towards the 3:41 min. find a new gearbox, which sees the protagonist always with guitar melodies that continue not to give up the vocals. Later, we find the current absolute (Adrian?) And a beautiful 100% harmonization Maiden, which soon develops a new solo. The Final Frontier is the triumph of melodic guitar solo and, I must say! We hear echoes also of No Prayer For The Dying harmonization ... the song is long, but much less boring than the last, exuding much more epic. At 8:40 min. find new solos, perhaps avoidable, and shortly after nine minutes comes a new melody with bass and guitar in unison. After about thirty seconds to distribute the initial intro, complete with a suction effect, and the song draws to a close with Bruce and the beautiful melody carrying a guitar that blend well together without ever getting lost. In closing, as expected, only the wind fades into fade out. Absolutely magnificent and suffer!
A few notes to finish this long preview, I hope it has not traumatized too: The disc lasts 76.37 minutes and despite a tracklist is not very balanced, in my opinion leaves behind the desire to be listened to repeatedly. The songs are definitely the two most immediate individual and 'The Talisman', the rest is much more difficult to assimilate and analyze. The songs skip from there and I do not think that album in hand, listening very 'El Dorado' (much better live for the shot, even as YouTube!) And especially 'The Man Who Would Be King'. The evolution over AMOLAD feels particularly with regard to attention to detail, the use of guitars and the improvement of production in general. The band does not try to imitate the Rush and the rest as some have summarily set (but not to go on line in the middle of songs) but the elements that draw in the last ten years have increased exponentially in proportion to hard compounds: long intro, slow parts and atmospheric, catchy melodies and songs not too fast, with several changes of riffs and structures, sometimes evident and obvious, others are characterized only by the addition of some unusual step and more guitar track here and there. Like Maiden not playing at the Beginning punkettoni eighties, now do not play to improvise Dream Theater because they write songs long, linear low and with some early drum: progressive is something else and when the band refers to such interviews, I do it only to express a simple concept to understand for all the tendency to want to experiment, improvise and write material that is not characterized by verse / bridge / chorus / solo / close as many of the masterpieces born at an early age. I repeat: this is not a sign of superiority manifested in the 'new course', let alone intrinsic crap. It is a choice, I presume shared by everyone in the band and especially advocated by Dickinson, Harris and Smith, who above all should be happy that the band enters the studio and onstage. Remains convinced that going to get bogged down writing songs feet of seven to eight minute average with a thousand guitars and changing structures is not exactly a sign of laziness or unwillingness, as I think that, if necessary, Maiden are still able to write an album that comes close to The Number Of The Beast for shooting and immediacy of the songs: just do not like it. Why is not interested, and probably do not see why. And that, as with all big names, can not help but disappoint many fans happy and make of all ages, with the premise that if the new discs by Deep Purple (and others) continue to sell less and the band keeps only a good following of people who want to live hear Gillan sing 'Smoke On The Water', those of Maiden reach unprecedented rankings in many countries around the world, going like hot cakes in the Internet and free download, flash, with covers not striking and haunting artwork certainly not like the decade ottantiana. This, at least, makes us understand why the band is so convinced of the value of what is proposed, probably with the certainty that money is equal and valuable for all those who are insecure or despise these days, not buy: Download and basket .
A sincere thank you to Ivan and Raffaella EMI Music Italy for their kindness, professionalism and all the time allotted!
Jeffmetal
Ancient Mariner
The italian review was translated on google, on imoc. The guy seems to be more and more drawed into the new album the more he listens to it. But at the same time, he tries to be in the position of the more conservative fans of the 80's and try to come across how this particular type of fan would feel about the album. Anyway, the guy seems to be a half assed fan without a definitive opinion.
The brasilian review I translated myself. Is it that bad, too?
The brasilian review I translated myself. Is it that bad, too?
Prisoner Of Maiden
Trooper
Thanks man this is awesome! Ya the review comes off positive to me, I cannot wait for Coming Home and When The Wild Wind Blows!!
Travis The Dragon
AFTERGLOW!!!
I'd love to know where they're seeing the lyrics and if they could share with us. That is GREAT however reading that the choruses won't be to repetitive.dhmaiden said:
Come to think about it, the past 3 albums have only had 1 REALLY bad song for repeating choruses. BNW: The Mercenary DOD: Montsegur AMOLAD: FTGGOG
Twarkle
Nomad
Travis_AKA_fonzbear2000 said:
A couple of guys on the official forum have photos of the entire booklet, apparently the artwork has leaked but not the album. They refuse to share it and only posted one blurry shot and the lyrics to the Satellite 15 section of Satellite 15...The Final Frontier. They were posting little snippets of the lyrics which were confirmed as being real once the samples came out. They aren't going to share as the guy who found them is having fun teasing people and it obviously makes him feel important and special that he has them. He keeps mocking the younger posters and referring to everyone as "kids" as if he's the only Maiden fan over 35. He's pretty much a dick. Some of the guys have turned their avatars into pictures from the albums artwork as well. The guy claims he found them just surfing the web and that anyone can find them using Google, but I think he's just enjoying sending people on a wild goose chase.
Edit
orry if this is poorly written it's 2:45AM and my one year old daughter woke me up, so I'm a bit out of it at the moment. 
Clayman
Prowler
Travis_AKA_fonzbear2000 said:
I think that No More Lies has more repeating chorus than Montsegur,at least Montsegur has a full line while NML repeats just three words.
Anyway I also hope that album wont have repeating chorus,well at least Bruce`s lyrics wont. And also the titles just don`t sound right for that,I mean it would be stupid that you have a chorus that goes "The Talisman,The Talisman,The Talisman" repeated 8 times in a row,the same goes for every other song.
Jeffmetal
Ancient Mariner
Review from german Rock Hard magazine (thanx to Nagelfar from the translation):
This is a finnish review (Thanx to ArSkA28) - http://www.imperiumi.net/index.php?act= ... ws&id=1304
Some new lines those jerks with the lyrics posted on imoc:
The crucible of pain will forge, the blanks of sin begin again (seems to be from Starblind or Isle Of Avalon)
Some say you are a lost cause. Some say you're a Saint. Just being here's an act of suffering and restraint. (apparently from Starblind)
Oh the bittersweet reflection as we kiss the earth goodbye. As the waves and echoes of the Towns become the ghosts of time. (visibly, a line from Coming Home)
The birds outsoar the raging storm, but we cannot escape it. (Isle Of Avalon?????)
The opening song „Satellite 15… The Final Frontier“ (Smith/Harris; 8:40min) is the first surprise: An unusual, futuristic and very cold mutet sound-collage with triggered drums opens the album. Sounds like an experimental song from one of Dickinson’s solo-album, which directly turns into the warm and typical Maiden-sound. Although, the song still remains unusual: A dignified , more relaxt Hard Rock-song with a cool hooklike. As always we are not hearing three, but two guitars. Good beginning, although it’s not a banger.
El Dorado (Smith/Harris/Dickinson; 6:49) is the first free-download-single and the only (up-to-now) new song, which has been played live. An more average rocker, which sounds like a better demo and only blows in the chorus. It continues the newer tradition of weak Maiden-singles. Cool bridge and nice Leadbreak – but, all things considered, not really strong.
Mother Of Mercy (Smith/Harris; 5:20) sounds much better. A moderate, melodic intro, and afterwards it turns into a good masher(?) with great verses. The chorus seems to be a little bit anxious, but the band saves the day with a strong team performance. Surely, it’s going to be better…
And then: With Coming Home (Smith/Harris/Dickinson; 5:52) comes the first album-highlight. The balladic intro reminds of the last Dickinson solo-album; Bruce is singing with heart and soul; the vocal-line is great. Coming Home is close at being a power-ballad – but it isn’t. Noticeable: The really good solo, which sounds like Adrian and Dave.
The Alchemist (Gers/Harris/Dickinson; 4:29) is the (up-to-now) most typical Maiden-song on the new album, but it is only average. Despite nice guitar-harmonies, the real energy is missing. No enthusiasm here. For Maiden-conditions boring.
With Isle Of Avalon (Smith/Harris; 9:06) begins the second, much stronger part of the album. This piece builds slowly as it is typical for Maiden, scores with an oriental touch and an atmospheric arrangement. After a couple of minutes, the song gathers speed and turns into a first-class Maiden-epic. The long and unusual leadbreak evokes memories of the “Seventh Son…” era, especially because of the drum-work. Thumbs up!
Same goes for Starblind (Smith/Harris/Dickinson; 7:48),which also starts moderate in the beginning, before a very strong riff plugs in. A complex rocksong with a very catchy hook, one of the most convincing songs so far. Adrians old composing talent is back – and Bruce shows much more effort than before. Great break in the second half; very original guitar-work. For the first time, the typical Maiden-Guitar-Melodies appear, but not overstated, more in a self-ironic way. Very good!
The Talisman (Gers/Harris; 9:03) starts as a pure ballad with acoustic-guitars and vocals, before it turns into a hard rocksong. Good guitars, good vocals, great hookline – the old Maiden-energy is back. Dickinson sings as if his life depends on it and takes the overlong song to another level. Highlight!
The Man Who Would Be King (Murray/Harris; 8:28) is the DaveMurray-song on this album, which you could directly relate to him, even without seeing the credits. A Maiden-epic with this kind of structure is typical for Dave, and a Maiden-album without such a track would be incomplete. The song includes a couple of strong, but also a couple of failed passages, which a more dominant producer could have shortened. Strangely enough, especially the lyrics sound bumpy and unfinished.
When The Wild Wind Blows (Harris; 10:59) The typical Harris-epic at the end. The song begins with a bass/guitar-intro and a “Afraid-to-shoot-strangers”-kind-of atmosphere. You always like to hear that – particularly as the vocal melody is very catchy. In a few places it’s very trendy, but although typical Maiden. One of the record’s highlights! Includes the typical Harris-breaks and guitar-melodies, but sounds very compact. Great guitar-solos! Naturally, the song ends as it has begun.
After listening twice to the album only, I can’t pass a final sentence here – especially as the more progressive songs really claim more patience. The Final Frontier is an interesting record and it is definitely better than Dance Of Death; but I can’t say any more up to now…
El Dorado (Smith/Harris/Dickinson; 6:49) is the first free-download-single and the only (up-to-now) new song, which has been played live. An more average rocker, which sounds like a better demo and only blows in the chorus. It continues the newer tradition of weak Maiden-singles. Cool bridge and nice Leadbreak – but, all things considered, not really strong.
Mother Of Mercy (Smith/Harris; 5:20) sounds much better. A moderate, melodic intro, and afterwards it turns into a good masher(?) with great verses. The chorus seems to be a little bit anxious, but the band saves the day with a strong team performance. Surely, it’s going to be better…
And then: With Coming Home (Smith/Harris/Dickinson; 5:52) comes the first album-highlight. The balladic intro reminds of the last Dickinson solo-album; Bruce is singing with heart and soul; the vocal-line is great. Coming Home is close at being a power-ballad – but it isn’t. Noticeable: The really good solo, which sounds like Adrian and Dave.
The Alchemist (Gers/Harris/Dickinson; 4:29) is the (up-to-now) most typical Maiden-song on the new album, but it is only average. Despite nice guitar-harmonies, the real energy is missing. No enthusiasm here. For Maiden-conditions boring.
With Isle Of Avalon (Smith/Harris; 9:06) begins the second, much stronger part of the album. This piece builds slowly as it is typical for Maiden, scores with an oriental touch and an atmospheric arrangement. After a couple of minutes, the song gathers speed and turns into a first-class Maiden-epic. The long and unusual leadbreak evokes memories of the “Seventh Son…” era, especially because of the drum-work. Thumbs up!
Same goes for Starblind (Smith/Harris/Dickinson; 7:48),which also starts moderate in the beginning, before a very strong riff plugs in. A complex rocksong with a very catchy hook, one of the most convincing songs so far. Adrians old composing talent is back – and Bruce shows much more effort than before. Great break in the second half; very original guitar-work. For the first time, the typical Maiden-Guitar-Melodies appear, but not overstated, more in a self-ironic way. Very good!
The Talisman (Gers/Harris; 9:03) starts as a pure ballad with acoustic-guitars and vocals, before it turns into a hard rocksong. Good guitars, good vocals, great hookline – the old Maiden-energy is back. Dickinson sings as if his life depends on it and takes the overlong song to another level. Highlight!
The Man Who Would Be King (Murray/Harris; 8:28) is the DaveMurray-song on this album, which you could directly relate to him, even without seeing the credits. A Maiden-epic with this kind of structure is typical for Dave, and a Maiden-album without such a track would be incomplete. The song includes a couple of strong, but also a couple of failed passages, which a more dominant producer could have shortened. Strangely enough, especially the lyrics sound bumpy and unfinished.
When The Wild Wind Blows (Harris; 10:59) The typical Harris-epic at the end. The song begins with a bass/guitar-intro and a “Afraid-to-shoot-strangers”-kind-of atmosphere. You always like to hear that – particularly as the vocal melody is very catchy. In a few places it’s very trendy, but although typical Maiden. One of the record’s highlights! Includes the typical Harris-breaks and guitar-melodies, but sounds very compact. Great guitar-solos! Naturally, the song ends as it has begun.
After listening twice to the album only, I can’t pass a final sentence here – especially as the more progressive songs really claim more patience. The Final Frontier is an interesting record and it is definitely better than Dance Of Death; but I can’t say any more up to now…
This is a finnish review (Thanx to ArSkA28) - http://www.imperiumi.net/index.php?act= ... ws&id=1304
Here's the review in english (I skipped the start; it's just about who was there in the pre-listen party, etc.):
The First Song, also published as Radically shorted video, Satellite 15.....The Final Frontier starts with really boring intro and in the end the Anemic of the lyrics suprises me
Also the second song El Dorado have been avaible on the Internet for some time, so it's unrelevant to analyse it.
Fortunately El Dorado and Satellite 15.....The Final Frontier are maybe the most insipid songs of the album. Unfortunately the same goes also to the third song, Mother Of Mercy... oh well, Instrumentally it's pretty strict, but lyrically it's stagant and Bruce's little bit too tight vocals starts to annoy just like on the Satellite 15.....The Final Frontier.
Coming Home is pretty unusual for the band, although it remind a little bit 'Different World'. Harmonic, atypical almost-ballad.
Maybe too much reminding of 'Man on the Edge', The Alchemist sounds too familiar to excite and pretty typical Maiden-song. In The words of Klaus Flaming (Famous Rock-DJ in Finland): ''That would be 'The Trooper No.3''
Isle Of Avalon suprises. Someone in the band must have listened some 70's British Progressive rock - Fariground Attraction or something -, because this epical starts with a one and a half minutes long acoustic intro. When it comes to end, the song grows to standard Maiden-song and it doesn't feel too long song.
Tacky listeners mind changes, when he hears Starblind. Finally! At then end of the song, The McBrain-beat and the scuffle of riffs just absolutely command the audience to wallop their fists and scream along... I won't take an oath from this, but in the sessions, it sounded like 'Somewhere In Time'- albums guitar sound have made a momentary comeback to Maiden.
And It's getting better! Epical The Talisman makes anyone to go goosebumps and it makes some die-hard fans cry. It's better than any Maiden-song for a long time. It slightly remind of 'The Rime Of The acient Mariner': Brightly sounding Distortion guitar and some agile bass-playing. To be honest, I dind't expecting such a great song from Maiden anymore.
The Man Who Would Be King is a pretty good song too - actually that good, that it, in effect, doesn't let down the end of the album, but it didn't stuck in my head enough, that I could comment it. Needs more listening.
They finally clear the bank (I don't know, how should I say that in english) with a song, that is a instant-classic in a Maiden catalogue. A little bit 'Ghost of a Navigators' irish-influenced replacer reminding, Epical song with a Sea-theme. Absolutely great song, Where The Wild Wind Blows starts with a wind-sample and takes you in a journey, where you don't want to come back. Again, you can hear some Folk- and Progressive Rock- influences and there are many parts in this song, but it's so melodically coherent and interesting, that it doesn't feel too long in spite of it's 11-minutes lenght. If, like Steve Harris have said, Maiden close down after the 15th studio album, then it ends really great. After the songs of the two previous albums, I couldn't expect something like this.
The First Song, also published as Radically shorted video, Satellite 15.....The Final Frontier starts with really boring intro and in the end the Anemic of the lyrics suprises me
Also the second song El Dorado have been avaible on the Internet for some time, so it's unrelevant to analyse it.
Fortunately El Dorado and Satellite 15.....The Final Frontier are maybe the most insipid songs of the album. Unfortunately the same goes also to the third song, Mother Of Mercy... oh well, Instrumentally it's pretty strict, but lyrically it's stagant and Bruce's little bit too tight vocals starts to annoy just like on the Satellite 15.....The Final Frontier.
Coming Home is pretty unusual for the band, although it remind a little bit 'Different World'. Harmonic, atypical almost-ballad.
Maybe too much reminding of 'Man on the Edge', The Alchemist sounds too familiar to excite and pretty typical Maiden-song. In The words of Klaus Flaming (Famous Rock-DJ in Finland): ''That would be 'The Trooper No.3''
Isle Of Avalon suprises. Someone in the band must have listened some 70's British Progressive rock - Fariground Attraction or something -, because this epical starts with a one and a half minutes long acoustic intro. When it comes to end, the song grows to standard Maiden-song and it doesn't feel too long song.
Tacky listeners mind changes, when he hears Starblind. Finally! At then end of the song, The McBrain-beat and the scuffle of riffs just absolutely command the audience to wallop their fists and scream along... I won't take an oath from this, but in the sessions, it sounded like 'Somewhere In Time'- albums guitar sound have made a momentary comeback to Maiden.
And It's getting better! Epical The Talisman makes anyone to go goosebumps and it makes some die-hard fans cry. It's better than any Maiden-song for a long time. It slightly remind of 'The Rime Of The acient Mariner': Brightly sounding Distortion guitar and some agile bass-playing. To be honest, I dind't expecting such a great song from Maiden anymore.
The Man Who Would Be King is a pretty good song too - actually that good, that it, in effect, doesn't let down the end of the album, but it didn't stuck in my head enough, that I could comment it. Needs more listening.
They finally clear the bank (I don't know, how should I say that in english) with a song, that is a instant-classic in a Maiden catalogue. A little bit 'Ghost of a Navigators' irish-influenced replacer reminding, Epical song with a Sea-theme. Absolutely great song, Where The Wild Wind Blows starts with a wind-sample and takes you in a journey, where you don't want to come back. Again, you can hear some Folk- and Progressive Rock- influences and there are many parts in this song, but it's so melodically coherent and interesting, that it doesn't feel too long in spite of it's 11-minutes lenght. If, like Steve Harris have said, Maiden close down after the 15th studio album, then it ends really great. After the songs of the two previous albums, I couldn't expect something like this.
Some new lines those jerks with the lyrics posted on imoc:
The crucible of pain will forge, the blanks of sin begin again (seems to be from Starblind or Isle Of Avalon)
Some say you are a lost cause. Some say you're a Saint. Just being here's an act of suffering and restraint. (apparently from Starblind)
Oh the bittersweet reflection as we kiss the earth goodbye. As the waves and echoes of the Towns become the ghosts of time. (visibly, a line from Coming Home)
The birds outsoar the raging storm, but we cannot escape it. (Isle Of Avalon?????)
Twarkle
Nomad
CD booklet inside artwork I think. I can't tell for sure so I'm not going to claim otherwise. These were posted by the guys who have the leaked booklet art, so I'm assuming that's what it is though they didn't come out and say that. If I'm wrong let me know and I will gladly delete these.
They certainly look like Melvyn Grant's work and they appear to be the correct dimensions for a CD booklet. And if you view the larger version of these images they appear to have the hallmarks of having been scanned, so I think this all adds up to them being legit, but who knows. Again, apologies in advance in case I'm mistaken.
They certainly look like Melvyn Grant's work and they appear to be the correct dimensions for a CD booklet. And if you view the larger version of these images they appear to have the hallmarks of having been scanned, so I think this all adds up to them being legit, but who knows. Again, apologies in advance in case I'm mistaken.
HallowedBeMyName
Trooper
Twarkle said:CD booklet inside artwork I think. I can't tell for sure so I'm not going to claim otherwise. These were posted by the guys who have the leaked booklet art, so I'm assuming that's what it is though they didn't come out and say that. If I'm wrong let me know and I will gladly delete these.
They certainly look like Melvyn Grant's work and they appear to be the correct dimensions for a CD booklet. And if you view the larger version of these images they appear to have the hallmarks of having been scanned, so I think this all adds up to them being legit, but who knows. Again, apologies in advance in case I'm mistaken.
They appear to be unfinished. That first image kind of looks like something from
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