New album: The Final Frontier!
- Thread starter Ranko
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Crimson Mask
Invader
The translations are both very informative and hilarious. Maiden are definitely not fans of cleaning.
Privateer454
Invader
IIRC, Nicko had only used a double base in one previous track and hated it. Surprised it was used again.
chaosapiant
Ancient Marinade
Babo 91 said:
Agreed. Nicko only ever used a double pedal on "Face in the Sand" and it wasn't for speed's sake, it was because it's constant throughout the whole song, and also likely why the song was never played live. Chances are, he's just doing uber fast triplets like he always does. The dude is fast with one foot.
ABandOn
.:The Final Frontier:.
Here’s my attempt at making the previous italian review, posted by Mozzle and originally available at http://www.outune.net/tunemag/rocktune/lultima-frontiera-degli-iron-maiden-siete-pronti-a-varcarla.html, slightly more readable than the google translator counterpart… 
Sorry for the possible errors, I tried to do my best, as I’m not too good with English 
Sorry for the possible errors, I tried to do my best, as I’m not too good with English Iron Maiden's Final Frontier: are you ready to cross it?
After four years, Iron Maiden are back on the shelves with the fifteenth album of 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.
Only one listening is almost never enough for any album, in particular an album so long (76 minutes and 37 seconds) will require much more extensive listening sessions, but we'll tell you our first impressions and emotions that "The Final Frontier" arose in us that we listened to it at a relatively low volume a few days ago. Meanwhile, old time fans be safe: there is still a great desire to play, to play the game, to experiment (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 worthy work of Maiden) probably will not even listen to the platter, making a mistake, since we are facing one of the most interesting creations of the last decade. There is a progressive vein that emerges here and there, there are moments and riffs inspired by blues and the seventies (Purple and Zeppelin come to mind every now and then), there are five long compositions placed by mid to end of the disc that involve the listener and don't give him pause; repetition of refrains was limited and they were dosed much better than before, there is a lot less orchestration or pompousness than the previous work, the guitars are the stars and the structures that the three bring 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 faster and more rhythmic than the previous "A Matter Of Life And Death".
And the bad things? Meanwhile, the single "El Dorado" doesn't fully represent the mood of the album and could have been better if it was a bit shorter; there are those two or three avoidable pieces (all in the first part) that seem to be out of place compared to what follows, the intros to the long pieces are now standardized and arpeggiated seamlessly (although they are functional, they're too predictable), it's difficult to understand why it was built a tracklist so unsettling that it makes difficult to follow the logical progression of the album (at least without lyrics available), that literally explodes from the mid-forward... but now we end up shooting into the pile and let's see what the ten songs on the new Iron Maiden "The Final Frontier" reserve to us. We are aware that a track by track tells little and could be confusing or might feed different expectations, which can be realized or be turned off dramatically at the time of listening. Take what follows with the necessary caution and read our thoughts as if they were (that's what they really are) simple notes of emotions and feelings in an hour and a quarter of listening ...
Satellite 15...The Final Frontier (8:40): we haven't understood anything for the first 4 ½ minutes. Futuristic and full of effects drums (we thought of "Eat The Rich" by Aerosmith) with spread electronic open the dances, Bruce declaims, while a structure, that could also bring to Dream Theater's Metropolis 2, is developing, especially when the alternation of snare and double pedal suggests the band of Petrucci and co. In the middle, the piece intended as a "Iron Maiden piece" starts, classic mid tempo that sweats hard rock from some 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 probably we have been drifted away too much). A couple of solos lead to the opener's conclusion, that flows directly into the launch single. A great way to start the cd.
El Dorado (6:49): We all know this by now, the beginning is nothing but the final of title track above. Although more metal, the piece would probably convince more if shorter. The impact is very live like all the album indeed, but we all know that new millennium's Maiden are not friends of audio refinement and prefer to immediately register all the tracks in studio with few frills. Finally, a song that will rock live, but on the album, after nearly seven minutes, we are happy that is finished.
Mother Of Mercy (5:20): Here there are the arpeggios mentioned earlier; we also talked about a couple of pieces that could have been avoided, and this is essentially one of them. A mid tempo that some nostalgic listener could define 'rocky' but that does not take off because of a rather anonymous chorus. The solo is not bad but we wonder why a song like this occupies the third position in the tracklist.
Coming Home (5:52): A slow song which lets one think about Dickinson solo works, a ballad that here and there brings to mind the lines of "Man Of Sorrow" and could have been conceived by, let's say, a Desmond Child, just to clarify what's the atmosphere of the piece. Overall, song is neat, pimp and certainly not a bad bill, the chorus is good and overall the piece is not that bad, however it's a drop in pace, again, that we would not expect so soon.
The Alchemist (4:29): Just by reading the tracklist, one could guess that this would be the classic fast piece of the album. Actually, the rhythms are very prominent, although the piece is not snarling or overly aggressive. However we awaken from the torpor, even if it begins to dawn in us the suspicion that, reached the fifth track, maybe we are facing an album not truly inspired. The melodies and the speed of the alchemist come to an end and, fortunately, we'll realize soon that the "real" album is about to begin.
Isle Of Avalon (9:06): The heavy brow of nearly ten minutes is one of the finest pieces of The Final Frontier. It begins with the trademark we have found to be the preferred incipit by Iron Maiden from Brave New World on, that is, the arpeggio at the beginning of the track. Track that takes off in up-tempo after 2 minutes and 40 seconds, then clearly surprises us with a mood change after four minutes with a progressive digression, vaguely Rush-ian, with even an organ underlying the central part solos. The conclusion is very reminiscent of Powerslave's title track, but overall the excitement returns to higher levels, thinking about how much ideas the boys had put in only one piece.
Starblind (7:48): Another shot of adrenaline with prog rhythmic, which shows that Bruce exalts himself over medium-high registers. A "zeppelinian" riff breaks into just after 4 minutes and introduces the solos section in which the rhythm changes several times. A mood that conducts quickly to "Infinite Dreams" in the choruses of the final part makes us appreciate even more another hit of the cd, which now travels at very good levels thanks to tracks that give the feeling of being jam sessions in which Maiden enjoyed to surprise their usual listeners.
The Talisman (9:03): Looking back to "The Legacy," song that closed the previous album "A Matter Of Life And Death", we start going into the eighth track of "The Final Frontier". The very theatrical beginning of Dickinson (with the usual arpeggio in the background, that we'll omit to report again), gives way after a couple of minutes to a settled up-tempo and the vocals of Bruce that go to upper registers. Here it comes the classical Maiden trademark galloping, interwoven with a really exciting chorus until it slows down with a very Purple break after more than six minutes. Another very interesting song.
The Man Who Would Be King (8:28): Here we'll mention, maybe inappropriately, Helloween (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 settled up-tempo. A dramatic break after 4 minutes cuts with what has been heard before to go towards almost blues interludes and well structured solos. Excluding the central surprise, the texture of the song is fairly straightforward, being yet another mark in this tracklist that now is drawing to a close.
When The Wild Wind Blows (10:59): Being the third longest track in the history of the band, the closing song of "The Final Frontier" must be something special. Echoes of Blood Brothers and Dance Of Death follow one another until, after three and a half minutes, Holy Diver echoes from the speakers, because the riff is very similar to the legendary Dio's piece. Song is essentially all played on a mid-tempo, with slowdowns and unexpected changes of register, even with a vocal line that twists what has been heard after nearly seven-minutes of song. A very vintage and "seventies" feel to end at the best an album 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, really believes in the new course (the one started in 2000), will be happy to listen to "The Final Frontier: a cd of which people will talk a lot about and that probably will be recognized as a (another) significant point of arrival of the career of a band too often given up for dead, that has always denied even the most hardened critics. Eternal respect for them, hoping that the Frontier won't be just the latest, but there will be others, to achieve and overcome, in the coming years…
After four years, Iron Maiden are back on the shelves with the fifteenth album of 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.
Only one listening is almost never enough for any album, in particular an album so long (76 minutes and 37 seconds) will require much more extensive listening sessions, but we'll tell you our first impressions and emotions that "The Final Frontier" arose in us that we listened to it at a relatively low volume a few days ago. Meanwhile, old time fans be safe: there is still a great desire to play, to play the game, to experiment (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 worthy work of Maiden) probably will not even listen to the platter, making a mistake, since we are facing one of the most interesting creations of the last decade. There is a progressive vein that emerges here and there, there are moments and riffs inspired by blues and the seventies (Purple and Zeppelin come to mind every now and then), there are five long compositions placed by mid to end of the disc that involve the listener and don't give him pause; repetition of refrains was limited and they were dosed much better than before, there is a lot less orchestration or pompousness than the previous work, the guitars are the stars and the structures that the three bring 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 faster and more rhythmic than the previous "A Matter Of Life And Death".
And the bad things? Meanwhile, the single "El Dorado" doesn't fully represent the mood of the album and could have been better if it was a bit shorter; there are those two or three avoidable pieces (all in the first part) that seem to be out of place compared to what follows, the intros to the long pieces are now standardized and arpeggiated seamlessly (although they are functional, they're too predictable), it's difficult to understand why it was built a tracklist so unsettling that it makes difficult to follow the logical progression of the album (at least without lyrics available), that literally explodes from the mid-forward... but now we end up shooting into the pile and let's see what the ten songs on the new Iron Maiden "The Final Frontier" reserve to us. We are aware that a track by track tells little and could be confusing or might feed different expectations, which can be realized or be turned off dramatically at the time of listening. Take what follows with the necessary caution and read our thoughts as if they were (that's what they really are) simple notes of emotions and feelings in an hour and a quarter of listening ...
Satellite 15...The Final Frontier (8:40): we haven't understood anything for the first 4 ½ minutes. Futuristic and full of effects drums (we thought of "Eat The Rich" by Aerosmith) with spread electronic open the dances, Bruce declaims, while a structure, that could also bring to Dream Theater's Metropolis 2, is developing, especially when the alternation of snare and double pedal suggests the band of Petrucci and co. In the middle, the piece intended as a "Iron Maiden piece" starts, classic mid tempo that sweats hard rock from some 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 probably we have been drifted away too much). A couple of solos lead to the opener's conclusion, that flows directly into the launch single. A great way to start the cd.
El Dorado (6:49): We all know this by now, the beginning is nothing but the final of title track above. Although more metal, the piece would probably convince more if shorter. The impact is very live like all the album indeed, but we all know that new millennium's Maiden are not friends of audio refinement and prefer to immediately register all the tracks in studio with few frills. Finally, a song that will rock live, but on the album, after nearly seven minutes, we are happy that is finished.
Mother Of Mercy (5:20): Here there are the arpeggios mentioned earlier; we also talked about a couple of pieces that could have been avoided, and this is essentially one of them. A mid tempo that some nostalgic listener could define 'rocky' but that does not take off because of a rather anonymous chorus. The solo is not bad but we wonder why a song like this occupies the third position in the tracklist.
Coming Home (5:52): A slow song which lets one think about Dickinson solo works, a ballad that here and there brings to mind the lines of "Man Of Sorrow" and could have been conceived by, let's say, a Desmond Child, just to clarify what's the atmosphere of the piece. Overall, song is neat, pimp and certainly not a bad bill, the chorus is good and overall the piece is not that bad, however it's a drop in pace, again, that we would not expect so soon.
The Alchemist (4:29): Just by reading the tracklist, one could guess that this would be the classic fast piece of the album. Actually, the rhythms are very prominent, although the piece is not snarling or overly aggressive. However we awaken from the torpor, even if it begins to dawn in us the suspicion that, reached the fifth track, maybe we are facing an album not truly inspired. The melodies and the speed of the alchemist come to an end and, fortunately, we'll realize soon that the "real" album is about to begin.
Isle Of Avalon (9:06): The heavy brow of nearly ten minutes is one of the finest pieces of The Final Frontier. It begins with the trademark we have found to be the preferred incipit by Iron Maiden from Brave New World on, that is, the arpeggio at the beginning of the track. Track that takes off in up-tempo after 2 minutes and 40 seconds, then clearly surprises us with a mood change after four minutes with a progressive digression, vaguely Rush-ian, with even an organ underlying the central part solos. The conclusion is very reminiscent of Powerslave's title track, but overall the excitement returns to higher levels, thinking about how much ideas the boys had put in only one piece.
Starblind (7:48): Another shot of adrenaline with prog rhythmic, which shows that Bruce exalts himself over medium-high registers. A "zeppelinian" riff breaks into just after 4 minutes and introduces the solos section in which the rhythm changes several times. A mood that conducts quickly to "Infinite Dreams" in the choruses of the final part makes us appreciate even more another hit of the cd, which now travels at very good levels thanks to tracks that give the feeling of being jam sessions in which Maiden enjoyed to surprise their usual listeners.
The Talisman (9:03): Looking back to "The Legacy," song that closed the previous album "A Matter Of Life And Death", we start going into the eighth track of "The Final Frontier". The very theatrical beginning of Dickinson (with the usual arpeggio in the background, that we'll omit to report again), gives way after a couple of minutes to a settled up-tempo and the vocals of Bruce that go to upper registers. Here it comes the classical Maiden trademark galloping, interwoven with a really exciting chorus until it slows down with a very Purple break after more than six minutes. Another very interesting song.
The Man Who Would Be King (8:28): Here we'll mention, maybe inappropriately, Helloween (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 settled up-tempo. A dramatic break after 4 minutes cuts with what has been heard before to go towards almost blues interludes and well structured solos. Excluding the central surprise, the texture of the song is fairly straightforward, being yet another mark in this tracklist that now is drawing to a close.
When The Wild Wind Blows (10:59): Being the third longest track in the history of the band, the closing song of "The Final Frontier" must be something special. Echoes of Blood Brothers and Dance Of Death follow one another until, after three and a half minutes, Holy Diver echoes from the speakers, because the riff is very similar to the legendary Dio's piece. Song is essentially all played on a mid-tempo, with slowdowns and unexpected changes of register, even with a vocal line that twists what has been heard after nearly seven-minutes of song. A very vintage and "seventies" feel to end at the best an album 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, really believes in the new course (the one started in 2000), will be happy to listen to "The Final Frontier: a cd of which people will talk a lot about and that probably will be recognized as a (another) significant point of arrival of the career of a band too often given up for dead, that has always denied even the most hardened critics. Eternal respect for them, hoping that the Frontier won't be just the latest, but there will be others, to achieve and overcome, in the coming years…
Suicidehummer
Trooper
These reviews in broken English are making my head hurt...
mozzle
Trooper
ABandOn said:Here’s my attempt at making the previous italian review, posted by Mozzle and originally available at http://www.outune.net/tunemag/rocktune/lultima-frontiera-degli-iron-maiden-siete-pronti-a-varcarla.html, slightly more readable than the google translator counterpart…
Iron Maiden's Last Frontier: are you ready to cross it?
After four years, Iron Maiden are back on the shelves with the fifteenth disc of 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.
Only one listening is almost never enough for any album, in particular an album so long (76 minutes and 37 seconds) will require much more extensive listening sessions, but we'll tell you our first impressions and emotions that "The Final Frontier" arose in us that we listened to it at a relatively low volume a few days ago. Meanwhile, old time fans be safe: there is still a great desire to play, to play the game, to experiment (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 worthy work of Maiden) probably will not even listen to the platter, making a mistake, since we are facing one of the most interesting creations of the last decade. There is a progressive vein that emerges here and there, there are moments and riffs inspired by blues and the seventies (Purple and Zeppelin come to mind every now and then), there are five long compositions placed by mid to end of the disc that involve the listener and don't give him pause; repetition of refrains was limited and they were dosed much better than before, there is a lot less orchestration or pompousness than the previous work, the guitars are the stars and the structures that the three bring 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 faster and more rhythmic than the previous "A Matter Of Life And Death".
And the bad things? Meanwhile, the single "El Dorado" doesn't fully represent the mood of the album and could have been better if it was a bit shorter; there are those two or three avoidable pieces (all in the first part) that seem to be out of place compared to what follows, the intros to the long pieces are now standardized and arpeggiated seamlessly (although they are functional, they're too predictable), it's difficult to understand why it was built a tracklist so unsettling that it makes difficult to follow the logical progression of the album (at least without lyrics available), that literally explodes from the mid-forward... but now we end up shooting into the pile and let's see what the ten songs on the new Iron Maiden "The Final Frontier" reserve to us. We are aware that a track by track tells little and could be confusing or might feed different expectations, which can be realized or be turned off dramatically at the time of listening. Take what follows with the necessary caution and read our thoughts as if they were (that's what they really are) simple notes of emotions and feelings in an hour and a quarter of listening ...
Satellite 15...The Final Frontier (8:40): we haven't understood anything for the first 4 ½ minutes. Futuristic and full of effects drums (we thought of "Eat The Rich" by Aerosmith) with spread electronic open the dances, Bruce declaims, while a structure, that could also bring to Dream Theater's Metropolis 2, is developing, especially when the alternation of snare and double pedal suggests the band of Petrucci and co. In the middle, the piece intended as a "Iron Maiden piece" starts, classic mid tempo that sweats hard rock from some 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 probably we have been drifted away too much). A couple of solos lead to the opener's conclusion, that flows directly into the launch single. A great way to start the cd.
El Dorado (6:49): We all know this by now, the beginning is nothing but the final of title track above. Although more metal, the piece would probably convince more if shorter. The impact is very live like all the album indeed, but we all know that new millennium's Maiden are not friends of audio refinement and prefer to immediately register all the tracks in studio with few frills. Finally, a song that will rock live, but on the album, after nearly seven minutes, we are happy that is finished.
Mother Of Mercy (5:20): Here there are the arpeggios mentioned earlier; we also talked about a couple of pieces that could have been avoided, and this is essentially one of them. A mid tempo that some nostalgic listener could define 'rocky' but that does not take off because of a rather anonymous chorus. The solo is not bad but we wonder why a song like this occupies the third position in the tracklist.
Coming Home (5:52): A slow song which lets one think about Dickinson solo works, a ballad that here and there brings to mind the lines of "Man Of Sorrow" and could have been conceived by, let's say, a Desmond Child, just to clarify what's the atmosphere of the piece. Overall, song is neat, pimp and certainly not a bad bill, the chorus is good and overall the piece is not that bad, however it's a drop in pace, again, that we would not expect so soon.
The Alchemist (4:29): Just by reading the tracklist, one could guess that this would be the classic fast piece of the album. Actually, the rhythms are very prominent, although the piece is not snarling or overly aggressive. However we awaken from the torpor, even if it begins to dawn in us the suspicion that, reached the fifth track, maybe we are facing an album not truly inspired. The melodies and the speed of the alchemist come to an end and, fortunately, we'll realize soon that the "real" album is about to begin.
Isle Of Avalon (9:06): The heavy brow of nearly ten minutes is one of the finest pieces of The Final Frontier. It begins with the trademark we have found to be the preferred incipit by Iron Maiden from Brave New World on, that is, the arpeggio at the beginning of the track. Track that takes off in up-tempo after 2 minutes and 40 seconds, then clearly surprises us with a mood change after four minutes with a progressive digression, vaguely Rush-ian, with even an organ underlying the central part solos. The conclusion is very reminiscent of Powerslave's title track, but overall the excitement returns to higher levels, thinking about how much ideas the boys had put in only one piece.
Starblind (7:48): Another shot of adrenaline with prog rhythmic, which shows that Bruce exalts himself over medium-high registers. A "zeppelinian" riff breaks into just after 4 minutes and introduces the solos section in which the rhythm changes several times. A mood that conducts quickly to "Infinite Dreams" in the choruses of the final part makes us appreciate even more another hit of the cd, which now travels at very good levels thanks to tracks that give the feeling of being jam sessions in which Maiden enjoyed to surprise their usual listeners.
The Talisman (9:03): Looking back to "The Legacy," song that closed the previous album "A Matter Of Life And Death", we start going into the eighth track of "The Final Frontier". The very theatrical beginning of Dickinson (with the usual arpeggio in the background, that we'll omit to report again), gives way after a couple of minutes to a settled up-tempo and the vocals of Bruce that go to upper registers. Here it comes the classical Maiden trademark galloping, interwoven with a really exciting chorus until it slows down with a very Purple break after more than six minutes. Another very interesting song.
The Man Who Could Be King (8:28): Here we'll mention, maybe inappropriately, 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 settled up-tempo. A dramatic break after 4 minutes cuts with what has been heard before to go towards almost blues interludes and well structured solos. Excluding the central surprise, the texture of the song is fairly straightforward, being yet another mark in this tracklist that now is drawing to a close.
When The Wild Wind Blows (10:59): Being the third longest track in the history of the band, the closing song of "The Final Frontier" must be something special. Echoes of Blood Brothers and Dance Of Death follow one another until, after three and a half minutes, echoes from the speakers Holy Diver, because the riff is very similar to the legendary Dio's piece. Song is essentially all played on a mid-tempo, with slowdowns and unexpected changes of register, even with a vocal line that twists what has been heard after nearly seven-minutes of song. A very vintage and "seventies" feel to end at the best an album 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, really believes in the new course (the one started in 2000), will be happy to listen to "The Final Frontier: a cd of which people will talk a lot about and that probably will be recognized as a (another) significant point of arrival of the career of a band too often given up for dead, that has always denied even the most hardened critics. Eternal respect for them, hoping that the Frontier won't be just the latest, but there will be others, to achieve and overcome, in the coming years…
Brilliant. Thank you so much for your translation. Makes it much more readable. This I would have to say is the most informative review yet. Sounds like the guy knows what he's talking about.
Jeffmetal
Ancient Mariner
Metal Hammer review - http://www.metalhammer.co.uk/news/iron- ... er-review/
mozzle
Trooper
"…but it’s the first part of this bi-polar album opener that is going to blow fans’ minds. A disorientating maelstrom of swirling distortion, thudding double kicks and bizarre spectral vocals, Satellite 15 is undoubtedly the weirdest thing the band have ever recorded. It’s heavy, it’s left-field and it’s utterly unexpected."
Yes, but is it good? Everything I've read about this piece states how weird and out there it is. No one however has said if it's good or not. If its music or just a bunch of spacey noise. I'm curious.
Ranko
I'll shoot the gunner first!
Everyone should decide for themselves whether they like something or not. I'm personally betting it's going to be a bunch of spacey noise, as you put it. Something in the vein of Mars Within or Toltec 7 Arrival from Bruce's solo albums. The thing is, the Bruce tracks are less than a minute long, so this will have to have more structure to it if it lasts for 3+ minutes.
Jeffmetal
Ancient Mariner
Satellite 15 starts like something coming or something being captured in the outer space, then has all these weird, brutally heavy, atonal riffs, tribal drumming, some soft arpeggios while Bruce narrates something. It's a mood setter for The Final Frontier - both for the opening track and for the album itself. If it's good, each will decide within a month.
HallowedBeMyName
Trooper
Metal Hammer Reviews The Final Frontier
I don't know if this topic has been started yet, but Metal Hammer has reviewed Maiden's new record, The Final Frontier. Thankfully, it's in English. I'm liking what Metal Hammer is saying about Satellite 15...
http://www.metalhammer.co.uk/news/iron- ... er-review/
I don't know if this topic has been started yet, but Metal Hammer has reviewed Maiden's new record, The Final Frontier. Thankfully, it's in English. I'm liking what Metal Hammer is saying about Satellite 15...
http://www.metalhammer.co.uk/news/iron- ... er-review/
mozzle
Trooper
HallowedBeMyName
Trooper
Re: Metal Hammer Reviews The Final Frontier
Damn! Oh well, it wouldn't really hurt to have a thread directly circled around the subject? No?
Damn! Oh well, it wouldn't really hurt to have a thread directly circled around the subject? No?
mozzle
Trooper
According to the Metal hammer preview, this is what Where The Wild Wind blows is based off of.
http://www.youtube.com/watch?v=ntI-7vR2zRs
I'm not going to lie to you, that makes me happy.
Edit: The whole movie is actually on Youtube.
The movie opens with a Bowie song, so you know it's going to be great. Going to watch it now . http://www.youtube.com/watch?v=6EbsrJuA ... re=related
http://www.youtube.com/watch?v=ntI-7vR2zRs
I'm not going to lie to you, that makes me happy.
Edit: The whole movie is actually on Youtube.
The movie opens with a Bowie song, so you know it's going to be great. Going to watch it now . http://www.youtube.com/watch?v=6EbsrJuA ... re=related
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