New Single - The Writing on the Wall

matic22 said:
I just love the fact that the 4 horsemen are Reaper Eddie, Cyborg Eddie, Pharoah Eddie and Mayan Eddie.
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SIT Eddie being Famine Eddie (since all the other positions seem to be taken) is kinda funny in our part of the world, don't you think?
 
MrKnickerbocker said:
People keep commenting on Bruce's "low singing" and I'm just over here like, "shit, he's straining and should sing lower."
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totally agree! Bruce is pushing, what?, late 60's? the guy cannot and should not try and hit those high notes any more. nobody should expect that . instead they should drop tuning live a half step and he should sing within his (now normal) range. guy still sounds fantastic in terms of tone. who cares if he can't scream anymore? while i'm there - no more "scream for me (whatever city)", Bruce, unless you drop the register a bit. you're killing yourself !!!
 
johnglen said:
Oh and what is this theory about how this is like solo Dickinson, Definitely sounds nothing like what would belong in Accident of birth, chemical wedding or even tyranny of souls.
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I changed my mind and I think you're right.
cyanopsis said:
Not sure if this has been posted already, but it's got some new insight from the video director as well as Rod: https://www.itsnicethat.com/news/ni...iden-the-writing-on-the-wall-animation-150721
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Some curious things from the link above:

Creative director Mark Andrews adds that they were heavily influenced by Maiden’s cover art, going for “a highly graphic, almost comic book design sense,” with a lot of input on character design from Dickinson himself. “Especially our Daniel character and the four horsemen were all Bruce. He described them as Nazgul on Harleys.” He describes also drawing references from Mad Max: Road Warrior and the original Planet of the Apes, plus “throw in a little of Terry Gilliam’s 12 monkeys for the interiors and Boom! We are on our way!”

While entertaining for anyone who loves a good dystopian sci-fi, this video was made by fans, for fans. It is packed with Easter eggs, an intricate chronicle of all that Maiden is about, and a labour of love, taking a crew of 60 people around eight months to create. Also, the ending is suitably dramatic. “Like all Maiden videos we don’t want to tell our fans everything, they like to figure it out,” Smallwood concludes.
 
Anyone else see how the post-reunion albums mirror the classics?

Number of the Beast = Brave New World Both are introductions of Bruce, both relatively straightforward.
Piece of Mind = Dance of Death A slight evolution. Highest highs, but also some lows.
Powerslave = A Matter of Life and Death The final statement of this era of Maiden. Both perfected on what came before. Also heavier in sound.
Somewhere in Time = The Final Frontier Getting a bit weird with their sound, a bit prog.
Seventh Son of a Seventh Son = The Book of Souls Ambition and scope.
No Prayer for the Dying = The new album. Who knows what this new album will actually be like, but from this first single, people are getting No Prayer vibes.
 
Forostar said:
Err no. He recorded this at age 60.
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ok...pushing mid-60's now. point is, the guy has done, what, 2,000 live shows in his career? you cannot sing at 60 like you did at 20 or 30 or 40...or even 50. he will utterly be unable to scream at all at 70 guaranteed. he needs to recognize that he literally comes close to blowing his larynx out now when he does the "scream for me schtick" in the same key/register as he used to. it sounds bad now. am i alone on this?
 
Maiden should have tuned to Eb 10 years ago. Sebastian Bach also plays in the original key, takes pride in it but should tune down as well. Just because you can don't mean you should or that it has to. The voice naturally gets lower with age. Take the toll of touring into account and it should be a no brainer.
 
jeffgt14 said:
I mean... if you want to call 7 kickass songs and 2 mediocre songs "highest highs, but also some lows" then sure.
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Lol. Not many metal albums with a better Side A, or 6 consecutive tracks on par with what POM opens with, right?

R@inmaker said:
ok...pushing mid-60's now. point is, the guy has done, what, 2,000 live shows in his career? you cannot sing at 60 like you did at 20 or 30 or 40...or even 50. he will utterly be unable to scream at all at 70 guaranteed. he needs to recognize that he literally comes close to blowing his larynx out now when he does the "scream for me schtick" in the same key/register as he used to. it sounds bad now. am i alone on this?
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I fully agree with you. The guy can still sing, no about about it, and he can still hit those notes, but he sounds so strained doing it. I know it’s over 20 years old now, but The Chemical Wedding is a prime example of what Bruce can do with an entire album where he spends a lot of time staying away from the upper registers, with a tuned down band behind him.
 
He does get up there quite a bit in there as well. The chorus of "Trumpets of Jericho" is Bruce at the top of his range.
 
Yax said:
Maiden should have tuned to Eb 10 years ago. Sebastian Bach also plays in the original key, takes pride in it but should tune down as well. Just because you can don't mean you should or that it has to. The voice naturally gets lower with age. Take the toll of touring into account and it should be a no brainer.
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Off topic a bit, and I suppose I could look for YouTube footage, but I’d rather not be super disappointed, is Sebastian‘s voice totally shot these days? Slave To The Grind was such a fantastic vocal performance (and great album all the way around) I saw them several times on that tour with Pantera opening, and Sebastian was so good live. I saw him one more time on the Subhuman Race tour and he didn’t sound nearly as good.
 
Twarkle said:
Off topic a bit, and I suppose I could look for YouTube footage, but I’d rather not be super disappointed, is Sebastian‘s voice totally shot these days? Slave To The Grind was such a fantastic vocal performance (and great album all the way around) and I saw them several times on that tour with Pantera opening, and Sebastian was so good live. I saw him one more time on the Subhuman Race tour, and he didn’t sound nearly as good.
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He's good enough to make it enjoyable, but he resorts to yelling in some sort of pushed chest voice or a distorted falsetto a lot rather than turning on that marvellous head voice he used to have. He is often well out of his comfort zone. He had obviously worked on the singing before going on the tour for the 30 anniversary of the Skid Row debut album a before the pandemic, because he really tried and didn't try and cheat with rewritten melody lines on I Remember You as he usually does.
 
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