The Final Frontier

[wojteq]

zobaczcie, jak na wokalu radzi sobie młody Dickinson: http://www.youtube.com/watch?v=A4a4RgcBEao

Wstyd dla ojca.....

[Zygmunt]

SPOILER

A brand new album from Iron Maiden is a major event and we always expect the best from this legendary band. But nothing has prepared us to the incredible sonic assault starting this fifteenth album. An onslaught of brutally heavy and atonal riffs, tribal percussions layers and an atmospheric touch à la Somewhere in Time (1986) are heard in the Overture of this ambitious album, which is epic in every way. As opposed to every album since Seventh Son of a Seventh son (1988), the first track is not a single but an eight and a half minute number. Satelite 15.... The Final Frontier, starting with a direct approach from Adrian Smith, really close from a UFO: a very vibrant title destined to become one of your best track live. The tracklist setup is very crucial. The catchy El Dorado, the hymn Mother of Mercy and the supreme Coming Home, temper the listener with their powerful riffs and their great melodies but it is clear from the beginning that The Final Frontier becomes as adventurous as its title suggests. Based on keyboards, Starblind mixes arythmic (staggering?) and mastered percussions by Nicko Mcbrain and a great vocal performance by Bruce Dickinson. The Talisman, co-written by Janick Gers, delivers a theatrical atmosphere very appreciated by the fans and in which the band always succeeds. Isle of Avalon meets the Welsh (Celtic?) mythology while the band creates an incredible tension leading to an excellent section from bassist Steve Harris, to one of his most expressive solo we have heard on an Iron Maiden album for a very long time. As strong as the album is, the best is kept for the end with an eleven minutes take entitled 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.
We are pleased when our favortite bands release good albums after a long carreer, but the way Iron Maiden is reinventing itself is extraordinary. The last four albums were their greatest creative period since their glorious days from the 80’s and The Final Frontier is another peak in their carreer.

Adrien Begrans

[DaveM]

zobaczcie, jak na wokalu radzi sobie młody Dickinson: http://www.youtube.com/watch?v=A4a4RgcBEao

OMG..Po przesłuchaniu tej piosenki zapuściłem Ironów..tak dla porównania. Jednak geny to nie wszystko

[wojteq]

A brand new album from Iron Maiden is a major event and we always expect the best from this legendary band. But nothing has prepared us to the incredible sonic assault starting this fifteenth album. An onslaught of brutally heavy and atonal riffs, tribal percussions layers and an atmospheric touch à la Somewhere in Time (1986) are heard in the Overture of this ambitious album, which is epic in every way. As opposed to every album since Seventh Son of a Seventh son (1988), the first track is not a single but an eight and a half minute number. Satelite 15.... The Final Frontier, starting with a direct approach from Adrian Smith, really close from a UFO: a very vibrant title destined to become one of your best track live. The tracklist setup is very crucial. The catchy El Dorado, the hymn Mother of Mercy and the supreme Coming Home, temper the listener with their powerful riffs and their great melodies but it is clear from the beginning that The Final Frontier becomes as adventurous as its title suggests. Based on keyboards, Starblind mixes arythmic (staggering?) and mastered percussions by Nicko Mcbrain and a great vocal performance by Bruce Dickinson. The Talisman, co-written by Janick Gers, delivers a theatrical atmosphere very appreciated by the fans and in which the band always succeeds. Isle of Avalon meets the Welsh (Celtic?) mythology while the band creates an incredible tension leading to an excellent section from bassist Steve Harris, to one of his most expressive solo we have heard on an Iron Maiden album for a very long time. As strong as the album is, the best is kept for the end with an eleven minutes take entitled 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.
We are pleased when our favortite bands release good albums after a long carreer, but the way Iron Maiden is reinventing itself is extraordinary. The last four albums were their greatest creative period since their glorious days from the 80’s and The Final Frontier is another peak in their carreer.

Tak, tak jasne Szkoda, że nie napisał ten ktoś, że "najlepszy album maiden ever!!" Trochę mnie niepokoi

the retained speaking of Bruce Dickinson

[Iron Soldier]

a tak na marginesie - zobaczcie, jak na wokalu radzi sobie młody Dickinson: http://www.youtube.com/watch?v=A4a4RgcBEao

Pomijając fakt, że nie cierpię nowego metalu. Takie darcie na siłę, ale młody Dickinson ma dobry głos, tylko marnuje go na takim nowoczesnym metalu. Powinien coś zaśpiewać Iron Maiden i żeby to trafiło do sieci żeby dobrze porównać.

[Moonrise]

Nie możemu mu mówić co ma robić, przecież gra to co lubi i nikt go nie zmusi żeby było inaczej ;P A ma możliwości, głos świetny, teledysk pewnie też tatuś ufundował więc jeśli się postara ma przed sobą karierę w takiej muzyce.
A tak swoją drogą... to chyba nie jest kwałek z TFF, więc nie wiem co robi w tym temacie
Osobiście z opinią w tym temacie wstrzymam się aż minie tydzień od premiery i płytę przesłucham kilkadziesiąt razy

[IgorW]

No tak, najlepiej żeby kariera muzyczna syna Dickinsona upłynęła w cover bandzie Iron Maiden. Pewnie to byłoby spełnienie marzeń jego i 15-letnich fanów IM :d

[Deleted User 4432]

Obczajcie jeszcze cover Judas Priest - http://www.youtube.com/watch?v=yc6hZ7q2svs. Tutaj młody ma naprawdę świetne momenty wokalne .

No tak, najlepiej żeby kariera muzyczna syna Dickinsona upłynęła w cover bandzie Iron Maiden. Pewnie to byłoby spełnienie marzeń jego i 15-letnich fanów IM :d

Nie no fajnie by było gdyby podtrzymywał tradycję klasycznego heavy bo wydaje mi się , że jego głos by do tego pasował . A jak koniecznie chce growlować to niech założy kapelę death metalową . To by dopiero było ...

[Iron Soldier]

No tak, najlepiej żeby kariera muzyczna syna Dickinsona upłynęła w cover bandzie Iron Maiden. Pewnie to byłoby spełnienie marzeń jego i 15-letnich fanów IM :d

Pisząc mojego posta nie miałem na myśli tego, żeby grał w cover bandzie Iron Maiden, tylko żeby nagrał z zespołem jeden cover Iron Maiden, żebyśmy mogli stwierdzić czy odziedziczył po ojcu talent do śpiewania heavy metalu czy niech zostanie przy tym growlowaniu lub jak numLock mówi niech założy kapele death metalową.

Cover Judas Priest wyszedł bardzo dobrze, ale wiadomo, że głosu Roba Halforda poza nim nikt nie ma i mieć nie będzie.

[IgorW]

Gra i śpiewa muzykę jaką chce i lubi. Akurat klasyczny heavy metal, cokolwiek to w ogóle znaczy, to muzyka w której od lat nie dzieje się nic ciekawego, nie powstają nowe, znaczące płyty, trudno się dziwić, że młodzieży już nie chce się tego grać. Ile razy można ogrywać patenty, które do perfekcji rozgrywali Ironi, Judasi czy inni 30 lat temu? Sentyment to za mało. Ale offtopujemy już nieźle hehe.

[ttomasz]

A brand new album from Iron Maiden is a major event and we always expect the best from this legendary band. But nothing has prepared us to the incredible sonic assault starting this fifteenth album. An onslaught of brutally heavy and atonal riffs, tribal percussions layers and an atmospheric touch à la Somewhere in Time (1986) are heard in the Overture of this ambitious album, which is epic in every way. As opposed to every album since Seventh Son of a Seventh son (1988), the first track is not a single but an eight and a half minute number. Satelite 15.... The Final Frontier, starting with a direct approach from Adrian Smith, really close from a UFO: a very vibrant title destined to become one of your best track live. The tracklist setup is very crucial. The catchy El Dorado, the hymn Mother of Mercy and the supreme Coming Home, temper the listener with their powerful riffs and their great melodies but it is clear from the beginning that The Final Frontier becomes as adventurous as its title suggests. Based on keyboards, Starblind mixes arythmic (staggering?) and mastered percussions by Nicko Mcbrain and a great vocal performance by Bruce Dickinson. The Talisman, co-written by Janick Gers, delivers a theatrical atmosphere very appreciated by the fans and in which the band always succeeds. Isle of Avalon meets the Welsh (Celtic?) mythology while the band creates an incredible tension leading to an excellent section from bassist Steve Harris, to one of his most expressive solo we have heard on an Iron Maiden album for a very long time. As strong as the album is, the best is kept for the end with an eleven minutes take entitled 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.
We are pleased when our favortite bands release good albums after a long carreer, but the way Iron Maiden is reinventing itself is extraordinary. The last four albums were their greatest creative period since their glorious days from the 80’s and The Final Frontier is another peak in their carreer.

Tak, tak jasne Szkoda, że nie napisał ten ktoś, że "najlepszy album maiden ever!!"

Mnie to trochę podbudowało po El Dorado

[dostoevsky]

Gra i śpiewa muzykę jaką chce i lubi. Akurat klasyczny heavy metal, cokolwiek to w ogóle znaczy, to muzyka w której od lat nie dzieje się nic ciekawego, nie powstają nowe, znaczące płyty, trudno się dziwić, że młodzieży już nie chce się tego grać. Ile razy można ogrywać patenty, które do perfekcji rozgrywali Ironi, Judasi czy inni 30 lat temu?

No właśnie! Tym bardziej, że radzą sobie b. dobrze, super kapela. Austin ma dopiero 19 lat, świetnie growluje, a czyste wokale ma jeszcze lepsze.

A wracając do tematu...

[Budziol]

A brand new album from Iron Maiden is a major event and we always expect the best from this legendary band. But nothing has prepared us to the incredible sonic assault starting this fifteenth album. An onslaught of brutally heavy and atonal riffs, tribal percussions layers and an atmospheric touch à la Somewhere in Time (1986) are heard in the Overture of this ambitious album, which is epic in every way. As opposed to every album since Seventh Son of a Seventh son (1988), the first track is not a single but an eight and a half minute number. Satelite 15.... The Final Frontier, starting with a direct approach from Adrian Smith, really close from a UFO: a very vibrant title destined to become one of your best track live. The tracklist setup is very crucial. The catchy El Dorado, the hymn Mother of Mercy and the supreme Coming Home, temper the listener with their powerful riffs and their great melodies but it is clear from the beginning that The Final Frontier becomes as adventurous as its title suggests. Based on keyboards, Starblind mixes arythmic (staggering?) and mastered percussions by Nicko Mcbrain and a great vocal performance by Bruce Dickinson. The Talisman, co-written by Janick Gers, delivers a theatrical atmosphere very appreciated by the fans and in which the band always succeeds. Isle of Avalon meets the Welsh (Celtic?) mythology while the band creates an incredible tension leading to an excellent section from bassist Steve Harris, to one of his most expressive solo we have heard on an Iron Maiden album for a very long time. As strong as the album is, the best is kept for the end with an eleven minutes take entitled 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.
We are pleased when our favortite bands release good albums after a long carreer, but the way Iron Maiden is reinventing itself is extraordinary. The last four albums were their greatest creative period since their glorious days from the 80’s and The Final Frontier is another peak in their carreer.

Tak, tak jasne Szkoda, że nie napisał ten ktoś, że "najlepszy album maiden ever!!"

Mnie to trochę podbudowało po El Dorado

brzmi nieżle

[jesper]

... oczywiście że brzmi nieźle ale ile jest prawy w tych słowach i tak przekonany sie dopiero po zapoznaniu z muzyką

[Iron Soldier]

Liczę na mocne uderzenie. Spodziewam się mieszanki BNW i AMLOAD, ale uważam, że nie powinno być źle.

P.S. Patrząc na tytuły utworów, który uważacie za najcięższy pod względem muzyki? Osobiście ja patrząc na tytuł oraz czas trwania utworu uważam, że najcięższy i najmroczniejszy zarazem będzie The Alchemist.

[Nicko McBrain]

raczej Satellite 15... The Final Frontier

[Zygmunt]

SPOILER

Raczej się to kiepsko czyta, ale dla ciekawskich może być. Dość kiepsko przetłumaczone z francuskiego.

A found a translation:

On Wednesday, July 7th, 2010, the press was invited warmly to come to listen to the new album of Iron Maiden, The Final Frontier, to the fifteenth effort studio of the group in thirty-five years of career. Listening took place at EMI, the home of discs of the English. At the entrance of the room of conference, this does not have fun: contract to be signed and passage in the metal detector for everybody. On about fifty present journalists, they point out fast that the average of age is not in about twenty and that the female gente is not really majority. In the bar, whole pack ice of beers is in discretion, what seems to make happy everybody. The last to arrive once pasts in the fine riddle, listening can finally start. To MusiqueMag, we decided to go for two there: on the one hand Olivier, journalist who knows Iron Maiden well and who has already interviewed the members of the group again and again; of the other William, editor whose musical tastes have never crossed the way of the band to Steve Harris. Column of their impressions with hot title by title.


01. "Satellite 15 ... The Final Frontier" [8:40]

Oliver: Wow! It starts with an intro worthy of a mix between Alien and Terminator. From the first seconds, Iron Maiden shows a galactic his ambitious The Final Frontier. The 2010 Eddie will be a half-alien zombie, half-cyborg. Nicko McBrain we hammered a long intro, tribal history, noting that for his 15th adventure, Iron Maiden, like the Star Trek crew, preparing to let us travel across borders. The 8'40 "is epic wish. Divided into three parts," Satellite 15 ... "ends with a chase during which Bruce Dickinson sings at least thirty times in a row" The Final Frontier! "Story that clearly understand the title of the disc. An entry in rather successful.

William: Iron Maiden would he choose to do without singer on this new album? It's three minutes that the piece started and still no trace sound of Bruce Dickinson. Finally, the singer and her high-pitched voice is definitely there and despite the length of the track, the song goes pretty well. Very good.


02. "El Dorado" [6:49]

Guillaume: The connection with "El Dorado" is immediate. Fortunately there is a giant screen that displays the names of songs, otherwise I would not have caught it had changed its tune. Oliver begins to stomp. Surely a sign that it is a good title ... Unless it is because he already knows the song that is a free download for several days.

Olivier: "El Dorado" is actually known to the fans for having been offered free of charge on the group's website. Another way in several parts. It starts with the bass of Steve Harris before embarking on a series of riffs very AC / DC quite surprising on the part of Iron Maiden. Especially since Bruce flips his words with an "I Got To Tell You A Story". A reference to "Whole Lotta Rosie"? The rest is not too bad. It speaks of pyramid gold with processions of the Three Musketeers solo Jannick Gers, Adrian Smith and Dave Murray. Dickinson will pay even a demonic laugh right in verse.


03. "Mother of Mercy" [5:20]

Olivier: Intro arpeggio. Atmosphere "I'm a sailor and I'm going to fight the sea witch." You can almost hear the bagpipes Breton for it! Bruce Dickinson sends the tremolo he can. So much so that he would dirty up the habit. The Final Frontier promises to be the album's most progressive metal of Iron Maiden. But he can not be removed early this disc a certain desire to renew.

William: This title lasts only 5'20 ", which according to my initial findings should be the equivalent of 3'30" standard of almost all other groups in the world. The three guitars (my neighbor connoisseur who blew me) are riding less on this song that keeps my attention less than the first two.


04. "Coming Home" [5:52]

Guillaume: The verse of "Coming Home" could easily be on a tour of Guns N'Roses. With this kind of song I realize how bands like Avenged Sevenfold are all pumped about Iron Maiden.

Olivier: Intro to Metallica before going into some arpeggios to Guns N'Roses. The chorus will take a swaying leaves impulsive. "Coming Home" seems far the worst album title. Iron Maiden is still making tons. Sometimes a little free. The purification, we do not know from Steve Harris.


05. "The Alchemist" [4:29]

Olivier: "The Alchemist" is the album's most direct and most immediate of The Final Frontier. Maiden plays the card of eighties. We think the first album the band with Bruce Dickinson. "The Alchemist" gives almost tempted to leave for Fort Boyard, pull the beard that big rascal Father Fourras then face the tarantulas hand in hand with Passe-Partout.

William: Even thought the previous track that it seems as though the intro to "The Alchemist" was repeated dozens of times by groups like Bullet For My company and Valentine. Even though I've never heard any album from Iron Maiden, it is clear that a package of new groups inspired by it greatly, sometimes even at the limit of plagiarism.


06. "Isle of Avalon" [9:06]

Guillaume: The record company just installed the sideboard behind the rows of seats. Curiously, most of our colleagues leave their pens for Calpine and go check if the sound is as good at the back of the room. They joined.

Olivier: Room hinge album, "Isle of Avalon" is not in half measures. A song that certainly requires a few listens before fully unfold. Suddenly, you feel a bit lost in this intergalactic trip. In nine minutes, William has had time to go three times to the buffet of mini burgers offered by EMI.


07. "Starblind" [7:48]

Olivier: "Starblind" sounds like an extension of "Isle of Avalon". It is useless trying to follow, one begins to have dizzy. The lack of guidance begins to be evident. Romain Perrot, Mixer Magazine my colleague sitting to my left, wrote "Drumming is very interesting" on his sheet. I find that Nicko Mc Brain have a beautiful nose of a boxer becoming more assertive, he always knows best swing big potatoes. The Rocky british heavy metal after all. William did not know what to write. Suddenly, it pumps also notes Romain.

William: After a quick calculation, a title of Iron Maiden takes on average between 6 and 7 minutes. I scribble on my paper and I realize I do not have much else to say about this song. I cast a glance at the notes Romain Perrot wrote "Very interesting". "Starblind" is a very interesting piece.


08. "The Talisman" [9:03]

William: Here, just the way it is quite bad enough. The intro is similar to the lament of a minstrel. The joke lasted two minutes and then suddenly the group sends the sauce. I'm back for a fantastic ride for 6 minutes. For my part, I ride toward the fantastic buffet where there are some mini-quiches ...

Olivier: Giddy is a series in which young Australian girls in flower s'amourrachent horses at the long tail. Giddy could also have been the subtitle for this eighth piece that moves the shoe. It is almost like at Longchamps. After an introduction to middle-aged type possible, I like the girl sings for the castle, Iron Maiden sends the great cavalry as he knows so well done. But as it lasts nine minutes, there's "cliffhanger" galore. Iron Maiden or the art of suspense music.


09. "The Man Who Would Be King" [8:28]

Olivier: Over the end of the album closer, the more we tell ourselves that The Final Frontier exudes a fragrance progressive seventies would not have denied that King Crimson. The Final Frontier is the anti Lady Gaga. No chorus after thirty seconds. On the contrary. Iron Maiden has chosen the complexity and the hunt. Actually, at this stage, I do not know what to think. My compass is out of order and I come to regret not taking drugs. Iron Maiden is in intergalactic travel but I'm afraid of staying in port, only like an idiot.

Guillaume Olivier seem to appreciate his fruit salad. "The Man Who Would Be King" is a song which I do fairly incidental retain almost nothing at the end of eight minutes. My page is blank. I did not notice anything except that Oliver just finished his fruit salad.


10. "When The Wild Wind Blows" [10:59]

William: It spoils severely with this latest title. The intro song like "I give you" from Jean-Jacques Goldman and the chorus might be of Matmatah if the words were in French. Not easy at all to finish ...

Olivier: In the great tradition of Iron Maiden, every album ends with the epic Supreme Court: the track of more than ten minutes. Just as much as some other of their records, we waited impatiently, as here, in light of the foregoing, we come to dread. Here, this tenth title serves festnoz apocalyptic. It starts happily as a soundtrack for the final banquet scenes Asterix and Obelix. Then came the race to the note and the surging breaks of any kind. So much so that one has the impression of being passed through a wringer when AC stops.

Conclusion

Olivier: The Final Frontier is not an easy album. It's the least we can say. With its average of 7 minutes per song, Iron Maiden has rarely been so progressive. To think he wants to get Dream Theater to Nirvana. Each title is conceived as an epic with its different levels of plays and parallel universes. Sometimes they remind Seventh Son Of A Seventh Son without the melodic strength of the latter. In this great catch-all music is what is missing: the melodic hooks. The Final Frontier is not without success but after listening, one gets the impression that there is no driver in this spaceship. As if each musician was left to himself. Trying too hard to make, Iron Maiden fans risk losing the least "musicologists". What stop us from singing "I'm running free!" during the next tour. Because Iron Maiden, is a bit like Sylvester Stallone. He might have signed a package of films shit, you're always happy to find it.

William: I am more hungry. Thank you.


I finished reading this mound of crap! Really detestable review and on the review's introduction they mention that one of these moronic jackasses is a real Maiden fan. If they had showed they didn't like the record with substantiated opinions, fine, but these idiots didn't give a single hint about the musicality of The Final Frontier, obviously because they don't know a turd about Maiden and Metal or because they knew they'd atract a lot of attention and comments on their website by acting like complete idiots, and worse of all, with no fun at all.

My dick knows more about Maiden than this couple of close minded fags.


Recka nie napawa optymizmem. Boję się, że na albumie może braknąć zapadających w pamięć melodii i solówek. Tych solówek brak już na AMOLAD, co moim zdaniem, jest największą wadą tego albumu.

[RALF]

Nie kierowałbym się tą recenzją, ci goście nie byli nawet specjalnie zainteresowani Maiden. "Final Frontier" to nie Lady GaGa, to nie jest płyta dla "każdego" i nigdy by taką się nie stała... Zobaczymy co powiedzą fani i dziennikarze z uznanych magazynów muzycznych. Mam wrażenie, że ci goście poszli tam żeby się najeść... smacznego!

[beaviso]

My dick knows more about Maiden than this couple of close minded fags.

Najbardziej spodobała mi się opinia o samych recenzentach

M.

[wojteq]

Recka żabojadów nie napawa optymizmem, ale brałbym pod uwagę ich "profesjonalne" podejście, więc jakoś się nie przejmuję. A 40-sekundowy kawałek fajny nawet, podoba mi się tak wykonany teledysk, mam nadzieję, że cały będzie w tym stylu zrobiony. Szkoda, że 13-tego będę daleko od domu i dopiero obejrzę teledysk 18-tego....