New album: The Final Frontier!

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The website says it's "The Final Frontier Video Premier"  Now does that mean it's simply the music video for the song "The Final Frontier" Or could it be the music video for anyone of the songs off "The Final Frontier" ? I mean I know in the 40 seconds we saw, we can her bruce singing "The Final Frontier" but maybe there isn't a music video at all. Maybe it's a little "making of" of the Final Frontier.

Has anyone actually confirmed what they imply when they say "The Final Frontier Video Premier"
 
I wonder why Satellite 15 isn't mentioned on the site's headline 'cos by the reviews of the album, Satellite 15 is the first part of the song, which mentions sounds coming from afar like some spacecraft. Well, on tuesday we'll know. :edmetal:
 
i was thinkin maybe the final frontier  is a running chorus and might be used in other songs in different speeds and tones again not maidens style but you never know just a feeling
 
FonzBear...the cream of the Maiden Family crop!!  What Up Man!!!  Yes the countdown is on baby, and the brew is on Ice here at Maiden ground zero, also known as my house!!!  We are getting together tonight, around midnight, grilling outside and throwing back cold ones as the Maiden fills the night air!!  All in anticipation of the 7:00 hour!!    This has been an awesome few days as the new countdown began.  THIS IS CLEANER SIX!!!!!!!!!!!!!!!!!!!!  I HAD TO PUT SOMETHING TO BED BACK THERE!!!!!!!!!!!!!    UP THE IRONS< & I will be saying a toast to you tonight-  WHOOOO WHOOO!!!!!!!!!
 
Butterflicker? OKAY....Must be a winner!!  Big night tonight brother!! A festival of all things Maiden!! Up all night and partying into the Morning with the "GRAND FINALE" @ 7:00 here on the coast.  Can't wait for the video!! Thanx for bringing it to this room day after day!! 
 
More 8 reviews, all French (some probably we have read) - http://maidenfrance.fr/Xdossiers/dossie ... iques.html

I've been using this online translator and it's much better than Google - http://webtranslation.paralink.com/

I've read 4 reviews so far and all of them say it's perhaps the best album since BNW or even Seventh Son Of A Seventh Son. :edmetal:

From what I've just read on the itroduction to one of the reviews, the video clip will be of The Final Frontier and also El Dorado. :o :blink:
 
One of the Eight interviews gooogle translated for the lazy:

1. Satellite 15 ... The Final Frontier - 8'40:
Iron Maiden introduced its new album by a long intro with an experimental battery sometimes tribal martial and sometimes noisy guitars. After a brief silence, some quiet arpeggios and Dickinson's voice mingles with the whole while Nicko McBrain (drums) began a rhythmic robotic double bass drum for a result which we do not really know what to think. After another silence, one of the first in a long series on this album, everything clears with a good riff and a chorus Maiden easily memorized the words: "The Final Frontieeeer The Final Frontieeeeer ..." .

2. El Dorado - 6'49:
The first single, already freely downloadable on the band's official website, neither the tube nor the album most representative. It begins as "Satellite 15 ..." ended by a peach of a guitar with Nicko McBrain who sounded his cymbals. Such fireworks are used instead to enter a song or a concert. Follows the traditional rhythmic "horse" Iron Maiden with a riff that has its eye on the heavy / thrash metal band Megadeth. The chorus is catchy, but not memorable either and cruelly reminded anecdotal pieces of opening the two previous albums, whose presence seemed to be a formality that the outcome of some inspiration. Other mania Maiden on this album, the title ends as it began.




3. Mother Of Mercy - 5'20:
This piece in the mood somewhat medieval-looking warrior anthem, is introduced, as many more to come on this new album by one party clean sound reminiscent of the prelude of "No More Lies" on Dance Of Death. After a few blasts of guitar, it starts on the same verse, in a version with big guitars, again, the inescapable riff Bumpety Bumpety. On the chorus - again easy to remember is the song title - Dickinson gives the impression of "throwing" her voice to reach higher notes.

4. Coming Home - 5'52:
The power ballad of the album, an equivalent of "Out Of The Shadows" on A Matter Of Life And Death. It is nevertheless more catchy with a good chorus where some keyboards are a discreet appearance wise. Note also a very successful solo lover.

5. The Alchemist - 4'25:
It comes quickly into the thick of things with this title without any frills. No intro, no bridge. Just a verse, chorus, a verse, chorus, a solo, verse, chorus. End of story. A traditional title with Maiden and the rhythmic beatings of these little crooked on the ride cymbal, Nicko Mc Brain signature.

A third route, we heard all the gimmicks that make the personality of Maiden. Yet, this album seems different. Securities that were meant to be the most eye-catching, it was ultimately not retained much ... At that moment, I say "hey it's weird, I do not remember there were so short of securities ...". And my memory only slightly digress. Because this is the principal river avalanche pieces impressive to me from reading the tracklisting.

6. Isle Of Avalon - 9'06:
Iron Maiden we demonstrated his talent for intros to a crescendo with the "Isle of Avalon". The guitar begins with a single ground Arabist, and is joined by the same set of double charley quavers as "El Dorado". Then the bass drum is added quietly. Like "The Longest Day" on the previous album, the battery really comes into scene with powerful explosions and several runs of toms to the dramatic effect indisputable. A good piece in the tradition of epic tracks from A Matter Of Life And Death.

7. Starblind - 7'48:
After a further preliminary clean guitar / keyboards and silence, the British shackle on a heavy part in lively melody, however subtly tinged with melancholy. The excellent chorus - a bit melodramatic speed on the edges - alternates between low and high vocal lines.

8. The Talisman - 9'03:
Against the backdrop of acoustic guitar, old magician, Bruce Dickinson seems to tell a story with a voice aged to cross the reassuring and disturbing. Then the prelude to a close with a downturn announcing a slight pause, then a whirlwind start on a heavy part. It's even funnier, you know the trick. The Talisman is nevertheless a very good headline. Nine minutes is a succession of moments and pass like a letter in the mail with catchy guitar riffs, call for "woooooohoooohooo.

9. The Man Who Would Be King - 8'26:
For this piece titled by the names of albums of Blaze Bayley, Iron Maiden played the card with a surprise ... intro a clean sound. Again. This prelude ends again with a small pause before the clutch on title removed. Halfway through the group causes a fracture but without confusing with a change of tempo which serves Hollywood twist. Also, a nice guitar solo. The song ends with an interesting way by a slowdown, a gradual decrease in intensity, a true epilogue to this moment of bravery heavy.

10. When The Wild Wind Blows - 10'59:
"Oh, no!" leak some journalists including yours truly when the wind noise starts and the last piece that we discover the length of it. The fact is that the finale of "The Man Who Would Be King" was a good conclusion, and after these four mini-epics filled, move on to another piece of river, over which is the longest of the album, it does not want. Needless to say, it was once again right to a prelude keyboard / guitar clean. Bruce Dickinson's singing takes on a new dimension to storytelling. After a great suspense generated by yet another silence, the song starts and the guitars take up the theme of the prelude in its electric version. Classical but effective. "When The Wind Blows Wild" is the most joyous disc. Can not hop on the spot. After 11 minutes my faith very palatable and some self-plagiarism pardonable, as the fence is so perfectly symmetrical, some arpeggios giving way to wind alone.

Fed up with the journos who routinely begin with "there is only a first listening, it is difficult to say, listening depth is needed to truly identify subtiBLABLABLA ...". As we know, stupid, that's exactly the exercise. Here is an opinion with a total lack of perspective assumed to emerge from this meeting. But be careful eh, this is a first listening, it is ... ahem ... What finally here.

A page turns. Maiden does not know to write hits. Maiden is no longer as comfortable and incisive, as shown winded and anecdotal "El Dorado" and "The Alchemist". Ironically, the songs are more catchy River. Much better built, scripted and less redundant as could those of the previous album, they are good epics with a succession of good riffs, good melodies, good tunes and clever twists that do not necessarily revolutionize the refractory breaks progressive structures. A marked improvement nevertheless dried up by this redundancy in the way of writing that, after the fifth intro clean sound, smile. Should there be, Maiden, today is the prog '. Good prog '.

A crappy translation of a different review.

Track by Track
1 Satellite15 ... The Final Frontier (8min40)
As we will see in my mind the many dots indicate two separate titles.

"Satellite15 is strange for a title of IRON MAIDEN. It was a big heavy mid tempo intro followed by a very long climb instrumental, the song finally arrives, without battery behind the pace is very choppy. A very gradual acceleration follows with the double bass drum was then extended passages that repeat.
The Final Frontier "is a dynamic mid ago for my taste a real break with the party before. This title could appear on "Somewhere in Time" found above the solos typical of the group, the chorus takes the song title repeated several times, ideal for concerts.

2 El Dorado (6min49)
This is the first digital single (a free download on the band's website).
The title is launched by a big bass riff that proposed typical Steve Harris, the title is quite dynamic. It appears several times under a bridge on the very atmosphere (while mounted). The chorus is sung in a high-pitched and made me think a little "Heaven Can Wait" but did not really convince me. Once again we find solos fairly typical for the group followed by a recovery quite aggressive with the bass forward.

3 Mother of Mercy (5min20)
The beginning of the title is air (close the last album the group) with very little battery can reach large staccato, suddenly the song becomes more dynamic without losing its air side. The chorus is cool, it is good but this is not a refrain in chorus again, the end of the track is quite aggressive.

4 Coming Home (5min52)
No, this is not a cover of SCORPIONS even if the title starts out very quiet, enough intro on which there is progressive keyboards. The beginning really think of a ballad and the song becomes more depressed. The chorus is pretty quiet and slow. Then we find an alternation between the "ballad" and heaviest part. The solos are pretty slow and play on the atmosphere.
The Alchemist 5 (4min29)
This is the song in your side of the disc, the start is dynamic and the title remains fast and aggressive enough (think time "Powerslave"). What is weird is that there is no real chorus in this track. There are the typical solo group in a registry fast this time.

Isle Of Avalon 6 (9min06)
First-time song (I still believe that the "first" title is more of a diptych). The intro has a fairly rapid Oriental flavor, the beginning made me a purpose "calm before the storm", playing mostly on the atmosphere. Then there is a slight acceleration with a heavier title. We note this time solos really atypical for the group with notes very detached from each other. After the solo it returns to the atmosphere of the beginning and then it was a first and a second acceleration acceleration where the song becomes more aggressive with an almost chanted vocals of Bruce.

Starblind 7 (7min48)
The early air with his keyboard bunched made me think "Afraid to Shoot Strangers" and then comes a heavy riff scrapes. The song is a mid tempo song with fairly high even on the chorus. It was a change of pace with solos air, the recovery that follows has enough rock'n'roll side again with solos including particularly fast this time. There is a small scratch gimmick that I found very nice and heady. We have a new air-passage and then passing a fairly standard verse-chorus (we find the song structure) and when it is said that the song will be longish, it ends.

8 The Talisman (9min04)
The second mouthful, and, on that first listen, one of my favorite disc. The title begins with a long pass acoustic guitar and vocals (who inevitably think about the title "Dance of Death") was a first acceleration while remaining sound. Then wholesale fast riffs are giving out a title with a side slam urgent. Side offset somewhat by a chorus singing a theme guitar and enough dancing (a traditional dance eh, not Rhianna). Little something that makes fun of the slide was on the solos.
song becomes more aggressive with an almost chanted vocals of Bruce.

9 The Man Who Would Be King (8min28)
Long title (it is almost as deathcore band name), and third long song on the album ... It often begins like this disc with an intro air with layers of keyboard, you remain in this kind of atmosphere when the song happens then we have an acceleration towards a mid-tempo aggressive enough or aggressive and urgent.
The song has a break very dense where it was again the slide and I think this the slap bass! The refrain of the title by cons is not very unifying. There was also another break, air and slow it.

10 When The Wind Blows Wild (10min59)
Latest album title and fourth long piece. With a title like one suspects that the intro will be partly made up by the sound of the wind ... after a guitar and a bass air, the beginning is slow, with only atmospheric song, that bass guitar and this light, it feels again a traditional influence. Then comes a small acceleration coincides with the arrival of the saturated guitar and drums (it is on the mid-tempo at this point in the title). The song is Bruce singing (without seeking easier). It was an abrupt change of pace for a long time where there are instrumental riff that recalls once again to "Dance of Death" and a passage quite light before réattaquer on a riff heavy mid tempo with a return of singing. It was subsequently solos and instrumental passage typical MAIDEN (those where there is all "Oh, oh ohohoh, oh" during the concert). Then we have a decrescendo to the very slow before returning to the theme from the very beginning of the title (of course you end up on the wind).

Conclusion
After listening, I have a fairly positive impression on this album that mixes several times ("Powerslave" / "Somewhere In Time" with the last album to date including "Dance of Death"). No return to 'The Number Of The Beast "because the pieces are still generally long or very long, key prog metal is always present. The group plays with the atmosphere but a priori without abusing it. As much I had to get used to "A Matter Of Life And Death" as it seems to me that it my enthusiasm quickly. For now, the titles that marked me the most are "The Alchemist" and "The Talisman". Now, it's all on ONE plays in special conditions with a very loud sound. It remains to be seen with the use but I do not think too much of a disappointment. We'll see Aug. 16 release date for the album in stores.
 
The last review of the link (which is the second one mozzle translated on google) was made by someone who shows big knowledge of Iron Maiden. This album will be a real trip, a voyage that will enrapture us. Come on, August 16th, The Final Frontier!!! :edmetal:
 
After MANY listens, I give the song 4/5 stars. Mainly because of Bruce's amazing singing throughout and the guitar solos.
Picture of what the packaging and disc will look like:
http://www.amazon.com/dp/B003JTHETY?tag=ilovethatsong-20
 
That packaging looks awesome.

I don't know if anyone else has realised this link with somewhere in time. The final track of SIT starts with the sound of wind blowing. Acoording to reviews, So does WTWWB
 
Another review. This one I originally think was in Italian. I found it already translated
01. Satellite 15...The Final Frontier (8:40)

"Satellite 15" is basically an intro, where percussions and guitar do quite good their work of building up the tension, with Dickinson's narrative vocals that opens for "The Final Frontier", based on a rock-ish guitar riff and which vaguely reminds the direct mood typical of some episodes off "No Prayer For The Dying".

02. El Dorado (6:49)

Chosen as the first single, "El Dorado" contains all the traditional Maiden sound characteristics, even if at a first glance it showed a lack of aggressiveness and not much inspirated in songwriting, with a non-perfectly convincing chorus.

03. Mother Of Mercy (5:20)

We think that "Mother Of Mercy" is one of the best song off the album, and if it's been chosen as a single, it would have collected more agreement. It consists in a mid-tempo structured on a classic a-là-Maiden riffing, with a good guitar solo and a catchy chorus. Possibly an highlight for the next concerts.

04. Coming Home (5:52)

Here's a semi-ballad well interpretated by Dickinson, who, in his 50s, proves that his vocal cords are still in good shape. Good the build up till the chorus, accompanied by a very good solo closer to classic rock (we heard some Hendrix for a few seconds) than to heavy metal.

05. The Alchemist (4:29)

And finally the boys draw their claws in this vigorous up-tempo, abandoning temporarily the rock-ish sound and playing their natural genre: heavy metal. Fast rhythmics are well accompanied by Bruce's singing, who is less powerful now, but he gained in intensity and expression, just like a good red wine.

06. Isle Of Avalon (9:06)

The progressive sounds by Harris & co. come back in this song that, in less than ten minutes, is a mix of electric-acoustic sounds and numerous rhythm changes, which will make happy all the fans of the last Iron Maiden albums, but will collect disappointments by fans of immediate and wild style.

07. Starblind (7:4

The progressive direction proper of the previous song is repeated in "Starblind", a long and intricate song made interesting by speed changes typical of some ideas from some old bands from the Seventies. The whole thing is done with style and precision, but it becomes a bit boring.

08. The Talisman (9:03)

Set on an acoustic intro, maybe too much long, "The Talisman" actually becomes interesting at 2.24, changing its form in a pretty good 'gallop', during which Dickinson plays the part of the lion with the band pushing down the throttle.

09. The Man Who Would Be King (8:2

Such an epic title is obviously a prelude to an another long song, introduced by some shy keyboards mats which try to create some atmosphere, then the building up till a predictable start, luckily stopped by an atypical and very interesting break.

10. Where The Wild Wind Blows (10:59)

The last song off this album represents an ensemble of all the ideas heard by now.
Initially, the trend of "When The Wild Wind Blows" is slight, almost imperceptible, then it turns, in a very predictable way, towards a stronger sound. We had the impression that Maiden actually became a progressive band and it's not clear if they reached a new artistic maturity, or they definitely lost the ideas. With the actual review, it will be our pleasure and care to broaden on some details, which, after only a listening, are less clear than they sηould be.
No idea if this is legit or not. Here is to hoping it is though.
Where the Wild Wind Blows. Harris, admitting his style can be predictable, has chosen not to include slow crescendos and galloping explosions; he simplifies his approach, keeping a steady ambiance throughout the entire track. The result: one of the most brilliant composition, with its Celtic melody, the retained speaking of Bruce Dickinson, and the tragic character from Steve Harris that will make the listener travel in the higher spheres.
BALLS! Best Review I read yet. :shred:

After four years riecco Iron Maiden back on the shelves with the fifteenth disc of unreleased their sensational career. Considered among the greatest exponents of the heavy metal scene for nearly thirty years, Harris and company were very focused on this new release.

A listen-only is almost never enough for any disk, especially an album so long (76 minutes and 37 seconds) will require much more extensive listening sessions, but we'll tell you my first impressions and emotions that "The Final Frontier" spurred in us that we listened to the relatively small volume a few days ago. Meanwhile, fans are quiet standing: there is still a great desire to play, to play the game, to try (yeah right) and give moments of excitement like few others can. Critics, however, or who has never enjoyed the post-reunion of 1999 (or generally considered "Seventh Son Of A Seventh Son" the latest work worthy of the Virgin) probably will not even listen to the platter, making a mistake, since we are facing one of the parties most interesting decade. There is a progressive streak that emerges here and there, there are moments and inspired blues riffs and seventies (Purple and Zeppelin appeared at the window every now and then), there are five long compositions placed by mid to end of the disc and involving not give the listener pause, merely the repetition of these same tunes and were tested much better than before, there are many orchestrations or less pompous than the previous work, the guitars are actors and structures that bring the three together are very enjoyable, Dickinson also often varies his vocal register, using the medium-high with less frequency than before, then the whole record sounds and faster pace of the previous "A Matter Of Life And Death".
And the bad things? Meanwhile, the single "El Dorado" is not right in the mood of the disc and could be better was a bit 'shorter, there are those two or three pieces avoidable (all in the first part) that impair compared to what follows, the intro to long pieces are now standardized and arpeggios seamless (although they are functional too predictable), difficult to understand why it was built a tracklist so unsettling that makes it difficult to follow the logical disk (or at least no books available ) that literally explodes in the middle then ... but now we end up shooting into the pile and let's see what we reserve the ten songs on the new Iron Maiden "The Final Frontier. We are aware that a track by track and can tell little confusing food or different expectations, which can be realized or off dramatically at the time of hearing. Take the following with the necessary clamps and read our thoughts as if they were (what they are really) simple notes of emotions and feelings in an hour and a quarter of listening ...



Satellite 15 ... The Final Frontier (8:40): we have not understood anything for the first 4 ½ minutes. A futuristic drums and effects (we thought of "Eat The Rich" by Aerosmith as we are in a period of HJF) with electronic spread open dances, Bruce recites while developing a structure that could also bring to Dream Theater's Metropolis 2, especially when the alternation of snare and double pedal suggest the band Petrucci and companions. In the middle part of the piece intended as a piece of Iron Maiden, mid tempo classic rock that speaks to Dickinson's solo album more than anything (the sound in particular has made us think for a nanosecond to the production of "Fear Of The Dark "but we could be left to carry too much). A couple of solos dell'opener lead to the conclusion that flows directly into the single launch. A great way to start the CD.

El Dorado (6:49): We all know this by now, the beginning is nothing but the final title track above. Although most metal, the piece would probably have convinced more than a minutaggio. The impact is very live like all the hard indeed, but we know that the Maiden of the new millennium are not friends of cleaning and prefer to immediately register all the tracks within incision with few frills. Finally, a live song break, disk after nearly seven minutes we are happy to finish.

Mother Of Mercy (5:20) here early arpeggiated mentioned earlier, so we talked a couple of pieces that could have been avoided, it is basically one of them. A mid tempo that some nostalgic webzinaro define 'rocky' but that does not take off because of a chorus rather anonymous. The solo is not bad but we wonder why a song like occupying the third position in the lineup.

Coming Home (5:52) which suggests a slow lot at Dickinson solo, a ballad here and there that brings to mind the lines of "Man Of Sorrow" and could be passed under the hands of Desmond Child, both clarify what is the atmosphere of the piece. Overall song is neat, pimp and that is certainly not a bad bill, the chorus is good and overall the piece is not sorry, however, is a drop in pace, again, we would not expect so soon.

The Alchemist (4:29): just reading the tracklist could guess that this was a classic piece of lot faster. Actually the rhythms are very significant, although the piece is not snarling or overly aggressive. However, we awaken from its torpor, even if it begins to dawn in us the suspicion that, having reached the fifth track, maybe we are faced with a disc not exactly inspired. The melodies and the speed of the alchemist come to an end and, fortunately, we realize here that the real short drive is about to begin.



Isle Of Avalon (9:06): the first brick for nearly ten minutes is one of the finest pieces of The Final Frontier. It begins with the trademark we have found to be preferred by the incipit Brave New World by Iron Maiden on, or the arpeggio opening track. Piece that takes off up-time after two minutes and 40 seconds, then clearly surprised with a change log after four minutes with a digression progressive traits Rush-ian with a lot of underlying organ solos to the center. The conclusion is very reminiscent of the title song Powerslave, but overall the excitement back beyond danger levels thinking about how much meat they put the fire boys in one piece.

Starblind (7:48): another shot of adrenaline with rhythmic prog, which shows that Bruce is exalted over medium-high registers. Zeppelino breaks into a riff just after 4 minutes and introduces the section on solos when the rhythm changes several times. A mood that returns quickly to "Infinite Dreams" in the chorus of the final part makes us appreciate even more another hit CD, which now travels at very good thanks to tracks that give the feeling of being jam session in which the Maiden have enjoyed surprising his listeners usual.

The Talisman (9:03): Looking back on "The Legacy", a song that closed the previous "A Matter Of Life And Death", we start going into the eighth track "The Final Frontier. The very early stage of Dickinson (below your usual arpeggiated now that we omit from the report, ed), gives way after a couple of minutes with up-tempo and the vocals of Bruce decided to go on the upper registers. Riecco classic ride to the Maiden are interwoven with a chorus really exciting until it slows down after more than six minutes with a break very Purple. Another very interesting song.

The Man Who Could Be King (8:28): Helloween appoint probably in error (the intro and the beginning seem to be melodic power metal) and "Virus" (yes the one with Blaze), but also "The Thin Line Between Love And Hate for you to understand the first part of another up-tempo decided. A dramatic break with the cut after 4 minutes before to let go and felt almost blues interludes and solos well structured. Excluding the central surprise, the texture of the song is fairly straightforward, this remains yet another center in a tracklist that now drawing to a close.

When The Wild Wind Blows (10:59): to be the third longest track in the history of the band, the closing song of "The Final Frontier" must be something special for strength. Echoes of Blood Brothers and Dance Of Death one another until after three and a half minutes abundant echoes from the speakers Holy Diver, because the riff is very similar to the legendary piece of God's song is played on essentially all mid tempo, with delays and unexpected changes of register, even with a vocal line that twists as heard after nearly seven-minute piece. A very vintage seventies and ends at a large disk that is an ideal cross between "Brave New World" and "A Matter Of Life And Death", very free from preconceptions and structured to be heard and not immediate. Who knows Iron Maiden, who appreciates them for their consistency and the fact that criticism aside, the new course (the one just started in 2000) believe Behold, I will be happy to have heard "The Final Frontier: A CD that will talk a lot about him and probably will be recognized as a (another) point of arrival is not just in the career of a band too often given up for dead, has always denied even the most hardened critics. Than ever for them, hoping that the Frontier is just the latest, but there are others to reach and exceed, in the coming years ...
 
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