To put things into context i was only talking about the album art.
I cba with the track personally.
Iron Maiden - THE FINAL FRONTIER
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Re: Iron Maiden - THE FINAL FRONTIER
Gee.... I don't know about the rest of you guys, but lately the only things that truly motivate me are erections and bowel movements.
Thank the Police coming straight from the underground...
Thank the Police coming straight from the underground...
- Dian Wei
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Re: Iron Maiden - THE FINAL FRONTIER
The new artwork is amazing! I'm really digging it
As far as El Dorado goes, well... I think its going to take a few more listens.
As far as El Dorado goes, well... I think its going to take a few more listens.
- Aussie_Metalchild
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Re: Iron Maiden - THE FINAL FRONTIER
Total fucking snoozefest.
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Re: Iron Maiden - THE FINAL FRONTIER
Apparently janick said on a radio interview recently that 'El Dorado isn't representative of the album. It's a very varied and HEAVY album.'
There's a relief. Hopefully there's a lot more glory to be had. And Steve has said it's proggy etc, but very different to AMOLAD.
There's a relief. Hopefully there's a lot more glory to be had. And Steve has said it's proggy etc, but very different to AMOLAD.
- jonny_boy34
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Re: Iron Maiden - THE FINAL FRONTIER
I don't believe them.
Gee.... I don't know about the rest of you guys, but lately the only things that truly motivate me are erections and bowel movements.
Thank the Police coming straight from the underground...
Thank the Police coming straight from the underground...
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Re: Iron Maiden - THE FINAL FRONTIER
I can definitely believe that the rest of the album (hopefully) doesn't sound like El Dorado, as they always have a shit song like that one on the album these days. So hopefully that's the shit song, and the rest will be amazing...
- jonny_boy34
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Re: Iron Maiden - THE FINAL FRONTIER
When I met Nicko McBrain just before AMOLAD was released, he assured me it was their "best one ever"...... and that's Crufts.
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Re: Iron Maiden - THE FINAL FRONTIER
Ok, now I'm really hyped up for it, i don't even care about El Dorado. A translation from some foreign joy:
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
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
- jonny_boy34
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Re: Iron Maiden - THE FINAL FRONTIER
What, no more galloping bass???? This will fucking suck.
- satanic_goat_christ
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Re: Iron Maiden - THE FINAL FRONTIER
It only said there was no galloping bass in Where The Wild Wind Blows. But even if there wasn't any, well, you do have a choice of about 50 thousand other tracks with galloping bass to enjoy!
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Re: Iron Maiden - THE FINAL FRONTIER
I went to wedding last weekend. The bride and Groom left the registry office to WHITE WEDDING...but that's not as good as the evening do where an old rocker did a KNEE SLIDE across the dance floor when the DJ put on some IRON MAIDEN. I was outside stroking a cat at the time….I came running back to the dance floor to lay down some sweet moves.
Iron Maiden = Knee Slides.
Iron Maiden = Knee Slides.
"...maybe we'll play some twister and do some breakdancing?"
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