Iron Maiden - Topic Ufficiale

Se permetti a queste affermazioni rido io.E comunque si, quegli esempi che faccio calzano a pennello.Dance of death non è per niente un capolavoro e anzi dal 90 in poi ci sono stati dischi di gran lunga migliori(the x factor gli è nettamente superiore, brawe new world e amolad un po meno ma lo stesso sono uno scalino sopra).Come gia detto poi i capolavori passano alla storia, Dod secondo te fra trent'anni verrà ricordato come oggi viene ricordato un powerslave?Ha un sound legnoso, una produzione che lascia il tempo che trova(molte canzoni perdono moltissimo di potenza rispetto alla controparte live)filler dal dubbio gusto(wildest dreams)e qualche canzone sparsa buona qua e la.E' il disco dei maiden che ho sentito di meno in assoluto e questo mi pare che per la band che mi ha affacciato al metal(e alla musica in generale)possa bastare per quanto mi riguarda

 

produzione legnosa? probabilmente hai ragione, ma non mi sembra che in dischi come Brave New World sia migliore..e poi chi ti dice che tra vent'anni non verrà ricordato???

Qualcuno di voi ha detto che anche TNOTB venne stroncato appena uscito e pure sai benissimo che ad oggi è uno degli album piu famosi e venduti della loro carriera, anche se io preferisco di gran lunga il suo predecessore e il suo successore..

 

Sarà stato pure stroncato dalla critica ma non dal pubblico! Se non lo avete visto consiglio a tutti il documentario Classic albums dedicato a TNOTB! Fantastico! Per quanto riguarda i gusti poi è un fatto personale! Io adoro Killers per esempio ma gli preferisco TNOTB!

 

YouTube - The Final Frontier - Teaser

 

Quel video sarà pure una tamarrata ma è ganzissimo

 

Forte il video!

 

e questa sarebbe una recensione? poteva evitare di scriverla questa persona se doveva esprimersi in questo modo e del disco non dice praticamente una cippa, mah

 

e tra l'altro non è nemmeno la prima volta che leggo cose di questo genere, eccone un'altra che parla (si fà per dire) di Dance Of Death

Iron Maiden: Dance of Death

Recensione di: AR (Anonima Recensori) , (il 31 gennaio 2006 in prima serata) | Voto: — | Ascoltala / lo ‹ Precedente • Una a caso • Successiva ›


LA MERDA + TOTALE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!


E ho già detto tutto. Un consiglio: risparmiate venti euro invece di comprare un disco del genereio ora mi kiedo cm è possibile che un gruppo ke ha fatto la storia dell'heavy metal debba ridursi a comporre canzonette mediocri sempre composte dagli stessi accordi una delusione enorme non compratelo.





ecco, e quesa è la "recensione", siccome è di un'altro portale non ho messo il link, chi lo vuole per sapere da dove viene glielo passo via PM

 

si video troppo figo!

 

—by Patrick Slevin, July 8, 2010


The worldwide success of Iron Maiden is staggering. Never the darlings of MTV, rarely the beneficiaries of heavy radio airplay and infrequently the focus of the mainstream print press, the flag-bearers of the NWOBHM have nonetheless conquered the consciousness of heavy metal fans everywhere.
Well, almost everywhere. But that’s just because they haven’t flown there yet. In their own plane.
And we’re not talking about some little corporate jet here. Flight 666, the band’s last tour and its accompanying DVD, saw the band buy and brand a Boeing 757 (the Ed Force One) which singer Bruce Dickinson flew from tour date to tour date. Not bad for a sextet of blue-collar metal dudes.
(And yes, Bruce Dickinson is a licensed commercial pilot.)
Still, there are a few places the continent-hoppers haven’t been, something which the band hopes to rectify soon, maybe in support of their August release, The Final Frontier. So far, on their American leg, they’ve only premiered the forthcoming record’s single, “El Dorado,” a thinly-veiled critique of the mentality behind the financial meltdowns on both sides of the pond. Fans can draw any number of conclusions based on the sci-fi artwork and tracklisting, but according to founding bassist and songwriter Steve Harris, there is not an overriding theme.
There is a grand stage show to accompany the new album, including the new Giger-esque Eddie. Harris spoke before going onstage in Saskatoon (in western Canada) about the upcoming record, songwriting, and their devoted fans.
Saskatoon sounds like nowhere to me. Is there anywhere that Iron Maiden hasn’t played?
Yeah, there are quite a few places we still haven’t played in the world, believe it or not. We haven’t played China yet; we’d like to play there. South Korea, places like that. Malayasia, Hong Kong. All kinds of places, really. But we’ve traveled the globe many times, and we thoroughly enjoy it. It’s good to go back somewhere as well as going new places.
How has the tour been?
It’s been really good so far, really good. The first couple of weeks is always the toughest, physically, mentally. But certainly now, it’s getting better (laughs).
I’m assuming that you’re doing more recent material?
Yeah, the last two tours we did a lot of the older stuff, so we’re doing a lot of stuff now off the last three or four albums. There will be a couple of oldies, but we like to mix it up. It keeps it fresh for us and for the audience, I think. Sometimes you get people that moan that they didn’t hear ‘The Trooper’ or whatever, but they could have heard that on pretty much every other tour. It’s just one of those things.
Is ‘El Dorado’ the only new song that you’re going to be performing?
Yeah, because the new album doesn’t come out until Aug. 17. So we’ve basically given that away as a free download, and we’re playing that, and then next year, we’ll be playing a lot more new material. But it’s a new show. The new show I think is worth seeing just for the show alone. Watching video from people up front, it looks pretty bloody good, I gotta say.
Yeah, Eddie looks great.
Oh, you’ve seen it?
I saw some video of it online. Have you ever personally been inside of Eddie?
No, not at all. Why would I want to do that? (laughs)
‘El Dorado,’ lyrically, seems to echo some of the financial malfeasance that’s been in the news.
Yeah. It’s about greed and drawing people in basically. Imploring them to sort of do whatever and giving them the once over afterwards. It’s about that, loosely.
Does the album follow any general theme as Matter Of Life And Death did?
A lot of people that have heard the album, press and people who have heard it, think that there’s some sort of concept or something, but there isn’t really. There are only two or three songs kind of around that sort of subject. It’s actually quite a diverse album. There’s not really one song—‘El Dorado’ or any other song. You can use any song as a lead, a taste. That’s what we do, we put out a taste, but it doesn’t really represent the rest of the album at all. There’s not really any other song that’s like that on the album.
I think it’s a very interesting album, it’s quite diverse, and there’s a lot going on. It’s a long album, hour and a quarter, so it’s a lot of music. And hopefully people will like it. I think it’s a pretty rich darn album, it’s pretty different I think. But we don’t really analyze it until we start speaking to journalists, to be honest.
You look at the cover art, and it’s space-themed, and you think of Somewhere In Time. Did you feature any unusual instrumentation on it?
There are some unusual things going on on the album, yeah. I think the opening song—I won’t say it’s going to shock people—but it’s quite different. We’ll see. You can get 10 people in a pub discussing Iron Maiden songs and they’ll have ten different ideas about this and that anyway. You can’t really worry about it, really; we just do what we do. And hopefully people like it.
What was the balance of songwriting on this record? You have so many contributors, I can only imagine it’s difficult to make everybody happy.
Not really. It doesn’t really work like that. It’s not about keeping people happy; it’s just about getting really good songs, and whatever combination of writers does that. We don’t write 20 songs and use 10; if we’ve got enough, we stop. There are always lots of bits and pieces flying around, but basically we just use whatever we think is strong at the time.
There’s no plan, no fixed plan of who’s writing with who or anything like that. It just worked out this time as well as the last album that I wrote more stuff with Adrian [Smith] this time, purely because we were the first ones to get together really, and it just sort of stemmed from there. It doesn’t always work like that, and it probably won’t necessarily work like that in the future.
You do have short songwriting sessions, just a little over a month.
Yeah, we don’t allow ourselves too long, because if you allow yourself six months to write, you’ll take six months. So we tend to put ourselves under a bit of pressure. And it is a bit of pressure; I certainly feel it anyway. A little black cloud goes away when you know you’ve got enough songs and you’ve got good material.
That never makes you feel rushed?
Not rushed, it just makes you feel a bit anxious because you know you’ve got to come up with good stuff. But that’s always been a good thing; it’s always been a positive thing. It’s almost like going through a weird stage when you’re doing it, because you do feel sort of an anxiety. I, in particular, I can’t really sleep properly when I’m writing. Too many ideas flying about all over the place, so I don’t really sleep very well. But once the writing’s done, you feel this massive pressure cloud go away.
So you don’t do any kind of intensive writing beyond those sessions.
No. Once we’ve got enough songs, we stop. We’ve always done that, because there’s no point in really working on stuff that you can’t record. We don’t really give ourselves enough time to do that, and we don’t want to do that. We just want to record an album and go on tour with it.
I was under the impression that Matter Of Life And Death was not mastered. Is that the same kind of style that you’re taking with this one too?
It was [mastered], but it was pretty flat. It’s the same with this one too. It’s just that, these days, I think mastering, dare I say it, is kind of—I’m not saying you don’t need it because sometimes you do to get the levels the same and stuff like that—when you work in digital format and you’ve got your mixes sounding just how you want, then you don’t really need a great deal of tweaking. Well, we don’t. Some artists might, but we don’t.
And that’s what we’ve found more and more lately, really, that we don’t need any tweaking at all, and when things are tweaked, they affect everything across the board, and it tends to mess with the mixes. I’m not going to say in the future that we’re not going to [master] but the last couple of albums have been fairly flat. Because they’re dynamic enough anyway in the mixes, so we don’t really want anything messing with it. We did try different things, different frequencies and this and that. But it didn’t sound better really. Sounded different, but it wasn’t better (laughs).
Also, the live sound of Iron Maiden is really what you want to capture in the studio.
Yeah, that’s the thing. You spend a long time capturing all that and getting it just how you want it, and if someone else comes and puts a frequency across it and it affects the whole mix—sometimes it sounds good, and you let people try these things, because you want to be open minded about it—but if it doesn’t make it sound better, then what’s the point?
It might be a tough year for concerts this summer, but it seems that Iron Maiden has been blessed with an extremely devoted fanbase. Do you have anything you attribute that to?
Not really. We’ve been asked this many times, and no. I don’t think you can really put a finger on it. What are we doing any different than anything else? Bruce does say on stage, and it’s true what he says, that there’s music fans, there’s metal fans, and then there’s Iron Maiden fans, and they really are a different breed altogether. It’s the truth. Why we deserve that kind of devotion, I’m not really quite sure. Yeah I think we make good albums and everything else. But I don’t know. Once an Iron Maiden fan, always an Iron Maiden fan, it seems to me.
The fanbase all over the world is unbelievable. I think people didn’t realize until the movie Flight 666 and that really brings it home how global it is. You can’t really explain it. It’s just unbelievable.
That was an interesting experiment, buying a plane…
Well, we played most of these places before anyway, it’s just these days now, trying to freight things around the world, with security and everything, it’s just an absolute nightmare. Some of the places before were just becoming more and more difficult to get to, and now we can fairly well go where we want.
I know you haven’t announced dates for past Europe, but do you plan to go to some of these places you mentioned, like Hong Kong or South Korea?
Well, we’d definitely like to go in the future, whether it’s the near future, we don’t know. Some of these places are not the easiest places to go to. I’d love to go to China, but there are certain things you have to go through. It took us a long time years ago to end up playing Russia, but we ended up getting there in the end. I’m sure with China, we’ll get there too. It takes a lot of people working out getting rid of all the bullshit, I suppose, to actually get in there.

 

E' di debaser(posso citarlo visto che non è un sito concorrente in teoria)me la ricordo ancora quella recensione.E' praticamente sputata a quella di final frontier(con la differenza che su debaser possono fare le recensioni cani e porci, il tizio di the final frontier era invece redattore di una nota rivista scomparsa)

 

Boh, blood brothers e ghost navigator secondo me si mangia tutto DoD senza opportunità di replica.Oltretutto number of the beast è stato accolto molto bene dal pubblico all'epoca entre dance of death ad un paio di persone ha fatto decisamente schifo.Per dire the x factor che è di molto superiore(mi basta citare sign of the cross)viene a distanza di quasi 15 anni ancora criticato nonostante sia un buonissimo disco, quindi non credo che per doad sarà diverso essendo che qualitativamente non è superiore, anzi

 

Altra recensione tradotta in inglese dal francese.

After the episode "Countdown" on the official website for us to wait before discovering the album cover, the huge promotional machine Iron Maiden gets truly underway by Wednesday, July 7 by listening in the premises of the record company (EMI) of the much anticipated "The Final Frontier!
After a short wait in the lobby, allowing everyone to enjoy the cool and classy appearance of the premises, we (representatives of press, radio and webzines) are invited to join the auditorium. But before entering into it, the key word is SAFETY. Each participant must sign a contract of sorts spreading over two pages all the commitments it makes in return for listening (basically, it takes three words: NOT LEAK!). After filing the entry all electronic equipment (portable, recorder, iPod, camcorder, GPS, electric toothbrush toaster etc..) We are entering a dark room decorated with the colors of this new album whose cover is projected onto a large screen. Surprise, a welcome buffet breakfast is offered to us (at my age, eating and drinking are the two ultimate criteria for judging an activity whatsoever!).
After an hour of discussion varied (Hellfest, Boutin, tour Maiden, concerts in Paris, etc..) it is now time to discover this fifteenth installment of the Iron Maiden, swung into a powerful sound system (hence a first impression that inevitably will differ somewhat from what we can do at home from 16 August)
Go for a title by title, not necessarily very sharp, plus a plethora of impressions:

1 Satellite15 ... The Final Frontier "(8min40)
A huge roar came from far away, and go to a martial rhythm, with drums chopped and omnipresent. Very far from the openers of previous recordings, this title, which is clearly divided into two distinct parts starts very strong, with big chords and a song that tries to find a place amidst the chaos. Halfway title, there is a bit more rock, more typical ofIron Maiden, with a refrain ("The Final Frontier" packet of four) combined with a melodic guitar. The three scratch themselves to the heart's a tangle of solidarity that can be found throughout the disc. At his, Kevin Shirley has put the small dishes to serve in large Nicko McBrain !

2 "El Dorado" (6min49)
Already available for free download on the band's website, this first single does not quite convinced me but the fact remains that there with a big sound, it is quite effective! A cavalcade of low so typical of Steve Harris coupled with a riff that makes me (a little) recalls that of "Scream Until You Like It" Wasp to start the machine and place under an atmosphere close enough to what the group We proposed to "Brave New World" and especially "Dance of Death" to the instrumental part that it refers directly to the period "Powerslave". This title, with its variations of intensity alright live (expect to reread this several times) even for Bruce, it will not be a pleasure because the rise in the treble is awesome on the chorus (which the ultra catchy melody're not).

3 "Mother of Mercy" (5min20)
After a short intro where the guitar poses a warm light on accompanying her clear, Nicko marks the beginning of hostilities and found a big rhythm typical of the group. The solos are superb and personally I love the refrain that should do well bellow the fans! The transitions are fairly fluid and surprisingly low offers for shots. The conclusion of the piece is quite dry, which allows movement of the next song so enjoyable.

4 "Coming Home" (5min52)
On the intro, the guitars and bass play in unison a theme quiet but convoluted. Just then a sort of ballad whose verses are made up of a game played in arpeggios and clear while the next is the background electric agreements. The structure verse chorus is played identically twice prior to a return of the theme intro leading to a solo air (there are sounds of "7th Son ..."), itself followed by a solo more angry. Certainly a great time on stage. Some routes are very rich on agreements, which do much to think about what can be Dream Theater (Thanks Kevin Shirley !).

5 "The Alchemist" (4min29)
Starting up the floor with the bass running around. Something crazy to tear his fingers. The fast track "the Maiden" par excellence with a solo 200 miles an hour and an end in twin guitars. Direct, simple, efficient, and end dry.

6 "Isle of Avalon" (9min06)
THE BIG TIME!
After an intro bass / guitar (as in almost all titles Epic Group), Bruce sings in a very theatrical and intimate (a sort of declamation in the shade). We feel that it will slam hard. The atmosphere is beautiful and reminiscent of "Rime Of The Ancient Mariner". Indeed, when the storm breaks, it sends severe. The breath of 80's inspired compositions on this plane. Nicko is everywhere, the solo starts in a way limit prog (really innovative in the group directory). A drawer construction, with beautiful rhythmic breaks, solos everywhere who are diving into the depths, this title is an epic musical with Bruce Imperial (another chorus that will be difficult to take in live). A great song!

7 "Starblind" (7min48)
New intro song with a pervasive calm (almost too much sometimes). After the mandala of the song before, it's hard to return to solo it (re ambience "7th son"). There, after a break again very depressed, has a big riff restart the machine to a fury of solos. The rhythmic, sometimes brutal and sometimes kills a small job for this great song that represents a sort of roller coaster intensity. One thinks the appearance prog "Somewhere In Time." Maiden is clearly pleased. The prod is super powerful even if sometimes a bit too all this element is very dense and difficult to digest at once)

8 "The Talisman" (9min04)
Imagine Bruce fireside, accompanied by an acoustic guitar to sound absolutely sublime, with a story (just like on "Dance Of Death") and you get a good overview of the intro song of the eighth. But the intro only, because the boot is a huge "In Your Face"! All musicians are stuffed full and it returns the field without qualms to the chorus, lighter!
Suddenly, joy joy, it was the leak of guitar while the audience will sing in concert (it will be repeated several times in the song). Chip typical Maiden 2000s. A very good time but, like other shots a little unnecessarily prolonged. Another great performance from Bruce !

9 "The Man Who Would Be King" (8min28)
Another long song construction maidenesque to wish (with nice little intro theme and then start scratching on wholesale agreements and twin guitars while Nicko takes stock of the battery). The intensity rises gradually. The solo part is again very beautiful, with a battery that offers plans away from stereotypes group. Nicko is loose and it really gives great emphasis to this passage. Again, there is the guitar everywhere. For cons, I hang around with this song a bit too heavy for my taste. Chunk, but the density of the album begins to have because of my discernment!


10 "When The Wind Blows Wild" (10min59)
A song that contrasts with the rest of the album by his side almost perky. On the intro (accompanied, as required, wind), Bruce goes down really low (it will rest him a little vocal cords on stage!). Even with the arrival of big guitars, the atmosphere is quite light and this one will blow the audience (who take the opportunity to take back the chorus "Do not You Know?".
The second part of the song is more epic themes with six-string that will choose to think "Blood Brothers" or "Fear Of The Dark". Nicko still hits hard, with many setbacks.
The verses contain a form of tension which is released on power chords at the end.
The title ends (those who follow will have guessed) by the wind.

Wow! A dense album, with extensive reference to two distinct periods (late 80's on the one hand, and the early 2000's on the other) but also some really new features (rhythmic structures, solos etc.).. Iron Maiden is loose and we propose a disk more accessible than it was "A Matter Of Life And Death". A wide variety of items which should go live well, although I personally regret the drift towards "always longer. A bit more spontaneity and brevity would not hurt. But we rejoice to see in 2010 a group still in great shape and very well inspired!

In fact, I dutifully listened to the album while taking notes, result: the buffet had been completely devastated when I got close! It's ugly guys prefer to listen rather than Grailler Maiden !

Thank you to Peter, AT (h) OME for the guest and the host (the next time I start with the buffet!)"


Questo recensore lo promuove (seppur dopo un ascolto), e soprattutto mi riempie di curiosità per Isle Of Avalon!

 

niente,lo voglio.

 

queste recensioni lo promuovono da quanto mi è sembrato di capire..dai un'altro pò e l'ascolteremo..