The Final Frontier

[Budziol]

ale to nie avatar który ma sprzedać sie w kilku milionach
to teledysk kapeli heavy metalowej i swoje zadanie spełnia znakomicie

[Zilian]

Ja tam kupie podstawową wersje. teledysk i inne takie pierdoły mnie nie interesują wystarczy mi sama muzyka

[WICKER MAN]

Kolejna recka 'The Final Frontier', tym razem z włoskiego Metalitalia.com:

[center]01. Satellite 15...The Final Frontier (8:40)[/center]

"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".

[center]02. El Dorado (6:49)[/center]

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.

[center]03. Mother Of Mercy (5:20)[/center]

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.

[center]04. Coming Home (5:52)[/center]

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.

[center]05. The Alchemist (4:29)[/center]

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.

[center]06. Isle Of Avalon (9:06)[/center]

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.

[center]07. Starblind (7:48)[/center]

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.

[center]08. The Talisman (9:03)[/center]

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.

[center]09. The Man Who Would Be King (8:28)[/center]

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.

[center]10. Where The Wild Wind Blows (10:59)[/center]

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 sould be.

[alistair]

Wydanie Limited Edition będzie zawierało 2 CD, czy 1 DVD?

[nurni]

ceny z fan.pl

CD - 52,95
CD (limited edition) - 71,95 - zamówione
2LPHQ - 109,95

[jArO]

Wie ktoś dlaczego fan.pl podają że do premiery albumu zostało 18 dni?

[DaveM]

Wie ktoś dlaczego fan.pl podają że do premiery albumu zostało 18 dni?

Bo liczą to wg kalendarza Majów

[_desant_]

Jaka jest ta edycja limitowana?

Czy wy zamawiacie jeszcze przed premierą czy jak?

[Madril]

Wie ktoś dlaczego fan.pl podają że do premiery albumu zostało 18 dni?

fan.pl dość często ma błędne daty premier od EMI.

[Mr. M]

Oczywiście będzie trzeba kupić wydanie limited edition, ale prawdopodobnie zrobię, to dopiero po premierze, bo poczekam na ofertę Empiku i Media Marktu (może być taniej).

[Budziol]

Jaka jest ta edycja limitowana?

i szybciej może być już w piątek

w metalowym boxie z teledyskiem i pierdołami

Oczywiście będzie trzeba kupić wydanie limited edition, ale prawdopodobnie zrobię, to dopiero po premierze, bo poczekam na ofertę Empiku i Media Marktu (może być taniej).

i szybciej może być już w piątek
po za tym jeśli zamówi się i LP i CD a często winyle maja opźnienie to trzeba czekać na skompletowanie wysyłki

[Zilian]

Ja tam czekam z niecierpliwością Kupie normalny krążek CD chyba że mi się odwidzi i na limitowaną edycje się skusze Na początku zastanawiałem się nad LP bo gramofon mam i swego czasu miałem manie na czarne płyty ale strasznie nie poręczne są

[WICKER MAN]

Limitowana edycja rożni się od podstawowej tylko tym, że będzie w metalowym pudelku oraz w środku znajdziecie kod do ekskluzywnego contentu dostępnego do ściągnięcia z netu necie (wywiad, teledysk, gra itp.). Chyba, ze zmienili plan i upchnęli to na CD razem z albumem, ale byłoby raczej ciężko...

Od lewej do prawej: winyl, ltd. edition, zwykle CD:

[Zygmunt]

Kolejna recenzja:

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...

[_desant_]

Łe tam. To biorę zwykłe CD. Złomu i tak nie zbieram.

Też chyba poczekam na empik i media markt. Nawet jeśli będzie ciut drożej to wyjde na tym lepiej niż z neta, bo te sklepy mam mniej więcej na miejscu.

[ttomasz]

Mnie kusi ta limitowana....Olać cenę, w końcu po coś w wakację pracuję:D

[WICKER MAN]

The Final Frontier is good. Very good. I've been listening to Maiden for 26 years, and I know a good or bad Maiden album when I hear it. And based on the listens I had, my initial reaction is to rank it alongside Brave New World. Not necessarily a reinvention, but a reassertion of just how driven and inspired the band continues to sound eleven years after Bruce Dickinson and Adrian Smith returned to the fold. At 76 minutes, there's a whole heckuvalot to digest, but this isn't a case like Metallica where they use the 79 minute running time of a CD as an excuse to egotistically cram whatever subpar material they can using the excuse that they want to "give their fans as much as possible." These ten songs hold up, or at least it feels like they will upon further listens. Each one is memorable.

I like how the album is sequenced. After the absolutely insane intro "Satellite 15", which is the heaviest piece of music Iron Maiden has ever put on record, the first few songs settle into a very strong 70s hard rock groove. Not surprisingly, Adrian Smith is behind these catchy riffs, and he and Steve Harris unapologetically admit the heavy UFO and Thin Lizzy influences they had fun exploring. "The Final Frontier", as you probably know by now, is a great little tune, a fantastic way to kick off the album, and "El Dorado" is a solid galloper that's already turned into an exceptional live song. "Mother of Mercy" is darker but still just as concise (with a very catchy chorus, it still buzzes in my head), while "Coming Home" slows things down just a touch, and while it's not exactly a ballad, it's still a wistful look back at the Flight 666 tour, Dickinson's lyrics inspired by his view from the cockpit of the big plane.

After the John Dee-inspired "The Alchemist" (probably the weakest or plainest song on the album), things really get interesting. Songs get longer, more labyrinthine, a little more experimental. "Isle of Avalon" is wickedly good, highlighted by a theatrical crescendo, dissonant guitars that add tension, a cool break led by Harris, and the best guitar solos on the album. "Starblind" revisits the synth-infused sounds of Somewhere in Time and is led by a powerhouse performance by Dickinson. "The Talisman" is quintessential Maiden, the one songs that pushes all the buttons that fans have grown accustomed to: slow build, explosive tempo change, big chorus. Formulaic, but unlike some past songs, it doesn't feel tired. You can tell "The Man Who Would Be King" came from a Dave Murray idea, you can tell those melodies of his from a mile away. The biggest surprise is saved for last, as "When the Wild Wind Blows" is an eleven minute Steve Harris epic, but not in the vein of "Rime of the Ancient Mariner" or "Sign of the Cross". Over the years Harris's solo songwriting has tended to wear on me. The fact is, he can get predictable, and in our interview he admitted that...on a Harris song, you always know what's coming next, he's been using the same template since "Alexander the Great" or even earlier. So "Where the Wild Wind Blows" comes across as a bit of a shock, because for once Harris bucks the trend completely with a song that's more understated than grandiose. It's built around a very simple yet memorable melody, but while it does build up here and there, it never bursts into those gallops we expect, instead keeping the same controlled pace. Dickinson follows suit, too, his singing not over the top, instead much more disciplined, Harris's lyrics an elegiac character sketch that touches on severe paranoia. It closes the album on a very melancholy note rather than a big final flourish.

I'd like to hear the album again just to see how it holds up, but like you, I have to wait until August 17th. Aside from a couple of listening sessions, that's it as far as advance music goes, there won't be any promo copies serviced in an effort to protect their product, so I wouldn't expect this album to leak at all, the security is that tight. But at the very least I can say that a little over a month from now, the wait will have definitely been worth it.



Janick Gers on the album
"We're in progressive stage with the band now. We're taking it to extremes. The new album, I'm really proud of it, 'cause the one song we released isn't indicative of the rest of the album. There's so many different feels and ways of playing on the album. We go through some different attitudes and take you to different places. There's a lot of long thematic tunes on this album. And some very varied music."

[Zygmunt]

Z tego wynika, iż Mother Of Mercy i The Alchemist bardziej przypadną większości do gustu niż El Dorado. Podobna sytuacja miała miejsce na DOD gdzie WD okazało się dla większości słabsze od Rainmakera i choćby Montsegura. Different World też raczej słabiej przypadł do gustu słuchaczom niż The Pilgrim. Coming Home będzie pewnie na poziomie Out Of The Shadows choć wolałbym, żeby to był poziom Blood Brothers. Bardzo ciekawi mnie Isle of Avalon, Starblind i When The Wild Wind Blows. Myślę jednak, że te 5 kolosów na koniec albumu bardziej wszystkim podejdą od Satellite... , bo z recek wynika, iż są one w bardziej tradycyjnym stylu Maiden od otwieracza. Jeszcze miesiąc i zobaczymy.

[El Dorado]

wyciekło może już?

[DaveM]

wyciekło może już?

Nie. Jeszcze dochodzę.