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Iron Maiden - The Final Frontier review



Reviewer:
7.2

1404 users:
7.29
Band: Iron Maiden
Album: The Final Frontier
Release date: August 2010


01. Satellite 15... The Final Frontier
02. El Dorado
03. Mother Of Mercy
04. Coming Home
05. The Alchemist
06. Isle Of Avalon
07. Starblind
08. The Talisman
09. The Man Who Would Be King
10. When The Wild Wind Blows

Iron Maiden have had ups and downs, but they consistently stuck to their unique style. 2006's A Matter of Life and Death saw a serious departure from that style towards a darker, more progressive sound - it was only a partial success. Unfortunately, Steve Harris and Co. felt encouraged, and decided to go further in their departures. The first 4 songs on The Final Frontier rank among the worst this band has ever committed and most of the time sound nothing like the Iron Maiden everyone knows. Departure from style my ass. If they wanted to depart again, the previous album was the way to do it.

'Sounds like shit' - this was my first thought when I heard the longish introduction to the album. "Satellite 15..." is so unlike anything that Iron Maiden have ever recorded. A crude, repeating drum pattern, distorted, spacy sounds, drunken guitars that go nowhere. Even the vocals, when they enter, sound strange. Not only does that intro suck, but it also sounds really weird. Fortunately, the song changes radically after 4 minutes into a remote semblance of a good song.

'What the hell have they done to Iron Maiden?' - that was my second thought. The opening tracks are decent enough for thousands of obscure bands who would be proud to have recorded them, but for Iron Maiden standards, they are sodding poor, and I mean really poor. "The Apparition" poor. "The Final Frontier" isn't utterly abysmal - resurrecting the spirit of the 70's metal, with a catchy chorus, it is remotely palatable. But to balance it, "Coming Home" is an Iron Maiden fan nightmare, sounding like it was recorded during the Fear of the Dark session, which, in my opinion, is the worst Iron Maiden album, with only 2 good songs.

The next six tracks brought back some of my faith in Iron Maiden. Long songs, catchy choruses, melodic solos, everything is seemingly in place. Seemingly - Maiden fans can at last feel at home, and utter a sigh of relief, because there will be no more experiments until the end of the album, at least not as blatantly obvious ones as the intro. But what follows isn't top-notch Maiden, it's mid-range most of the time. Solos aren't too memorable, vocal lines aren't too melodic, riffs don't stick in my head.

Only the last song, "When the Wild Wind Blows," can be honestly called excellent. The riffs supported by simple, but powerful drumming somewhere in the 7th minute of the song - in that solitary moment Maiden sounds really classy. The song isn't quite as good as Maiden's best classic tracks, but it's on a par with the good songs from the later period. Maybe the leading vocal theme sounds too joyful and optimistic, in spite of telling a grim tale, but the song is deliciously complex and rich, a real treat to end this album.

Having died during the first 4 abysmal songs, I was partially resurrected by some good ones that followed, of which, sadly, only one is brilliant. The Final Frontier clocks in at over 76 minutes, and most of these minutes are well spent, assuming you have a pair of paddles handy to shock you back to life after the cardiac arrest that you will undergo at the onset of this album. Better yet, start listening from "The Alchemist." You should be at least partially satisfied.
How do I rank this? I could try to turn a blind eye on the beginning of The Final Frontier. But 4 terrible songs out of 10 is quite a lot. Sorry guys, not this time around. I can't ignore 40% of the album. 1 point up for the last track.


Rating breakdown
Performance: 9
Songwriting: 7
Originality: 7
Production: 6





Written on 16.08.2010 by Writes overly honest and totally subjective reviews when fancy strikes him. Which is not often. Which is probably good, all things considered.

Guest review by
Death To Posers
Rating:
9.5
It seems like it's become trendy to dislike any music that becomes even somewhat mainstream. I am by no means bitter; I'm guilty of this prejudice quite often. So, when I saw the album votes go the way they did for The Final Frontier I wasn't shocked. But, in all honesty, I thought this album was pretty hard! This is one of Maiden's most successful albums to date and for a damn good reason. While it does sound different from anything they've done before, that doesn't make it worse. Do you really want three albums that sound exactly like Brave New World?

Read more ››
published 18.01.2011 | Comments (46)

Guest review by
omne metallum
Rating:
6.6
An album that skirts the title of worst album in Iron Maiden discography by fortune of existing in a world where Dance of Death exists, The Final Frontier is a well-intentioned album that seems stuck on autopilot for the most of its running time, bravely going where the band had not gone before... mediocrity. If you want a quick and concise description of this album, think "The Angel And The Gambler" in seven new guises!

Read more ››
published 15.04.2020 | Comments (2)


Comments page 4 / 9

Comments: 253   [ 2 ignored ]   Visited by: 1045 users
18.08.2010 - 18:38
Rating: 10
LordMaiden

All I know is I might be a fanboy, but Dicktator is a worthless, moronic piece of shit.
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18.08.2010 - 18:39
4look4rd
The Sasquatch
Just listened to El Dorado in their myself and its not half as bad as people are making it. I quite like it to be honest, its a little fresh, but still has that galloping trade mark. Very radio friendly, but still not bad.
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18.08.2010 - 18:40
Rating: 10
LordMaiden

Written by RobotPolarBear on 18.08.2010 at 16:07

Quote:
I'll have that plus a soda please.


Do you want your soda in a special edition Iron Maiden cup?


I would laugh at that if it was funny.
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18.08.2010 - 18:45
Rating: 10
LordMaiden

Am I the only one who thinks it is hilarious how Hidden Dickface owned himself?
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18.08.2010 - 19:04
RobotPolarBear

Quote:
I would laugh at that if it was funny.


I take it you don't want soda or popcorn? Shame. It's pretty high quality stuff.
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18.08.2010 - 19:07
JohnDoe
Account deleted
Written by LordMaiden on 18.08.2010 at 18:20

This is the best comment section ever.


no, it's the worst, all the insulting is annoying already.
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18.08.2010 - 20:13
Daydream Nation
Account deleted
I refuse to support the fan boys on this occasion. A single word to describe Iron Maiden: STAGNATION. They aren't progressing and experimenting; they play the same damn tune over and over again. I've already heard their 80s heyday albums and their classic 90s stuff...and ever since Brave New World, they have been sleepers (with the possible exception of Dance of Death, which did have many songs I consider classic.).
Metallica, Iron Maiden, Slayer, even Megadeth... there has to be more originality and thought placed into their songs. Maybe I'm not justifying myself well enough, but it feels like the same plod through all their albums. And until I see a concerted effort to separate the bands from their past works and innovate (that's what I pay artists to do, of course!), I will not be supporting their albums.
Score once again: 6.
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18.08.2010 - 20:32
Rating: 6
vezzy
Stallmanite
Written by Guest on 18.08.2010 at 20:13

I refuse to support the fan boys on this occasion. A single word to describe Iron Maiden: STAGNATION. They aren't progressing and experimenting; they play the same damn tune over and over again. I've already heard their 80s heyday albums and their classic 90s stuff...and ever since Brave New World, they have been sleepers (with the possible exception of Dance of Death, which did have many songs I consider classic.).
Metallica, Iron Maiden, Slayer, even Megadeth... there has to be more originality and thought placed into their songs. Maybe I'm not justifying myself well enough, but it feels like the same plod through all their albums. And until I see a concerted effort to separate the bands from their past works and innovate (that's what I pay artists to do, of course!), I will not be supporting their albums.
Score once again: 6.


What this man said.
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Licensed under the GPLv3.
Relinquish proprietary software for a greater GNU/America.
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18.08.2010 - 22:31
Rating: 10
LordMaiden

Written by Guest on 18.08.2010 at 20:13

I refuse to support the fan boys on this occasion. A single word to describe Iron Maiden: STAGNATION. They aren't progressing and experimenting; they play the same damn tune over and over again. I've already heard their 80s heyday albums and their classic 90s stuff...and ever since Brave New World, they have been sleepers (with the possible exception of Dance of Death, which did have many songs I consider classic.).
Metallica, Iron Maiden, Slayer, even Megadeth... there has to be more originality and thought placed into their songs. Maybe I'm not justifying myself well enough, but it feels like the same plod through all their albums. And until I see a concerted effort to separate the bands from their past works and innovate (that's what I pay artists to do, of course!), I will not be supporting their albums.
Score once again: 6.


Ummm, WHAT? DoD is the worst of the modern albums.
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18.08.2010 - 22:47
Culty

Look LordMaiden just stop. Clearly nobody values your opinion at this point. Not every Maiden album has to be good. And hey! I'm one of those people who can actually tolerate Blaze era stuff! But this album is just nothing special and just calm down, you're making yourself look bad.
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Gfnttlr
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18.08.2010 - 23:01
Rating: 10
LordMaiden

Written by Culty on 18.08.2010 at 22:47

Look LordMaiden just stop. Clearly nobody values your opinion at this point. Not every Maiden album has to be good. And hey! I'm one of those people who can actually tolerate Blaze era stuff! But this album is just nothing special and just calm down, you're making yourself look bad.


It is the internet. I honestly don't give a shit if I look bad, good, mediocre or whatever.

And I wouldn't expect a bunch of death metal freaks here to value any opinion anyway. I post here because I'm bored.

And did I say every Maiden album is good? No, I did not.

NPFTD, VXI and FOTD suck. Now you suck too so at least everything is in good company.
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18.08.2010 - 23:03
Culty

Oh boy! Glad everything is in good company then!
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Gfnttlr
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18.08.2010 - 23:04
Rating: 10
LordMaiden

Oh boy!
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18.08.2010 - 23:14
Rating: 4
Evil Chip

Written by wvClifton on 17.08.2010 at 17:02

Written by RavenKing on 17.08.2010 at 00:44

Congratulations to the reviewer for daring to criticize the so tremendously overrated Maiden. I guess the cocksucking Maiden fanboys won't be happy to read criticism at their outdated has-been band, but the opinions of fanboys don't hold any value. If it pains them so much to hear the criticism I suggest as a cure for their suffering to find a high bridge and jump down.

About "sounding like shit", I agree. Production is awful. Drums, guitars, vocals, everything sounds weak, worn out and crappy.

"What the hell have they done to Iron Maiden?". It sounds nothing like Maiden in the 80s, indeed. And it feels more like hard rock than metal most of the time.

Songwriting is really poor, yes. It just plods and drags for minutes. Utterly boring and directionless. So overstretched the album could last 1/3 or maybe 1/4 of its actual length and it would benefit from it. Yeah, nothing memorable.

A snoozefest of an album full of worn out sounding songs by a worn out band that should have called a quit long ago.

Now, to all the cocksucking Maiden fanboys: feel free to come on this thread and release your petty anger like you did on the other thread. It will only prove how easy it is to piss off every imbecile.
I just wished to give my two cents more specifically on the album but won't reply to blind fanboys on this thread, exactly like I stopped replying on the other thread, so you will perhaps understand that I was serious when I said Maiden fanboys worth less than shit to me.
Anyway, feeding trolls only make them more fat, ugly, stinking and stupid.


You swine. You vulgar little maggot. You worthless bag of filth. As they say in Texas. I'll bet you couldn't pour piss out of a boot with instructions on the heel. You are a canker, a sore that won't go away. I would rather kiss a lawyer than be seen with you. You couldn't attract flies if you were slathered in shit.
You're a putrescent mass, a walking vomit. You are a spineless little worm deserving nothing but the profoundest contempt. You are a jerk, a cad, a weasel. Your life is a monument to stupidity. You are a stench, a revulsion, a big suck on a sour lemon.

You are a bleating foal, a curdled staggering mutant dwarf smeared richly with the effluvia and offal accompanying your alleged birth into this world. An insensate, blinking calf, meaningful to nobody, abandoned by the puke-drooling, giggling beasts who sired you and then killed themselves in recognition of what they had done. The best part of you ran down your mother's leg a became a brown spot on the mattress.

I will never get over the embarrassment of belonging to the same species as you. You are a monster, an ogre, a malformity. I barf at the very thought of you. You have all the appeal of a paper cut. Lepers avoid you. You are vile, worthless, less than nothing. You are a weed, a fungus, the dregs of this earth. And did I mention you smell?

Try to edit your responses of unnecessary material before attempting to impress us with your insight. The evidence that you are a nincompoop will still be available to readers, but they will be able to access it more rapidly.

You snail-skulled little rabbit. Would that a hawk pick you up, drive its beak into your brain, and upon finding it rancid set you loose to fly briefly before spattering the ocean rocks with the frothy pink shame of your ignoble blood. May you choke on the queasy, convulsing nausea of your own trite, foolish beliefs.
You are weary, stale, flat and unprofitable. You are grimy, squalid, nasty and profane. You are foul and disgusting. You're a fool, an ignoramus. Monkeys look down on you. Even sheep won't have sex with you. You are unreservedly pathetic, starved for attention, and lost in a land that reality forgot.
And what meaning do you expect your delusionally self-important statements of unknowing, inexperienced opinion to have with us? What fantasy do you hold that you would believe that your tiny-fisted tantrums would have more weight than that of a leprous desert rat, spinning rabidly in a circle, waiting for the bite of the snake? You are a waste of flesh. You have no rhythm. You are ridiculous and obnoxious. You are the moral equivalent of a leech. You are a living emptiness, a meaningless void. You are sour and senile. You are a disease, you puerile one-handed slack-jawed drooling meatslapper.
On a good day you're a half-wit. You remind me of drool. You are deficient in all that lends character. You have the personality of wallpaper. You are dank and filthy. You are asinine and benighted. You are the source of all unpleasantness. You spread misery and sorrow wherever you go.

You smarmy lagerlout git. You bloody woofter sod. Bugger off, pillock. You grotty wanking oik artless base-court apple-john. You clouted boggish foot-licking twit. You dankish clack-dish plonker. You gormless crook-pated tosser. You churlish boil-brained clotpole ponce. You cockered bum-bailey poofter. You craven dewberry pisshead cockup pratting naff. You gob-kissing gleeking flap-mouthed coxcomb. You dread-bolted fobbing beef-witted clapper-clawed flirt-gill.

You are a fiend and a coward, and you have bad breath. You are degenerate, noxious and depraved. I feel debased just for knowing you exist. I despise everything about you, and I wish you would go away. I cannot believe how incredibly stupid you are. I mean rock-hard stupid. Dehydrated-rock-hard stupid. So stupid that it goes way beyond the stupid we know into a whole different dimension of stupid. You are trans-stupid stupid. Meta-stupid. Stupid collapsed on itself so far that even the neutrons have collapsed. Stupid gotten so dense that no intellect can escape. Singularity stupid. Blazing hot mid-day sun on Mercury stupid. You emit more stupid in one second than our entire galaxy emits in a year. Quasar stupid.

Your writing has to be a troll. Nothing in our universe can really be this stupid. Perhaps this is some primordial fragment from the original big bang of stupid. Some pure essence of a stupid so uncontaminated by anything else as to be beyond the laws of physics that we know.
I'm sorry. I can't go on. This is an epiphany of stupid for me. After this, you my not hear from me again for a while. I don't have enough strength left to deride your ignorant questions and half baked comments about unimportant trivia, or any of the rest of this drivel. Duh.

The only thing worse than your logic is your manners. Maybe later in life, after you have learned to read, write, spell, and count, you will have more success. True, these are rudimentary skills that many of us 'normal' people take for granted that everyone has an easy time of mastering. But we sometimes forget that there are 'challenged' persons in this world who find these things more difficult. If I had known that this was your case then I would have never read your post. It just wouldn't have been 'right.' Sort of like parking in a handicap space. I wish you the best of luck in the emotional, and social struggles that seem to be placing such a demand on you.

You are hypocritical, greedy, violent, malevolent, vengeful, cowardly, deadly, mendacious, meretricious, loathsome, despicable, belligerent, opportunistic, barratrous, contemptible, criminal, fascistic, bigoted, racist, sexist, avaricious, tasteless, idiotic, brain-damaged, imbecilic, insane, arrogant, deceitful, demented, lame, self-righteous, byzantine, conspiratorial, satanic, fraudulent, libelous, bilious, splenetic, spastic, ignorant, clueless, illegitimate, harmful, destructive, dumb, evasive, double-talking, devious, revisionist, narrow, manipulative, paternalistic, fundamentalist, dogmatic, idolatrous, unethical, cultic, diseased, suppressive, controlling, restrictive, malignant, deceptive, dim, crazy, weird, dystopic, stifling, uncaring, plantigrade, grim, unsympathetic, jargon-spouting, censorious, secretive, aggressive, mind-numbing, arassive, poisonous, flagrant, self-destructive, abusive, socially-retarded, puerile, clueless, and generally Not Good.

I agree that this albums is pretty lame... but I support the huge comment above. Every insult put in it desearves a 10.
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18.08.2010 - 23:18
Rating: 10
LordMaiden

Says a Slipknot fan.
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18.08.2010 - 23:22
Rating: 10
LordMaiden

I'm starting to realize most people bashing Maiden listen to vocalists who sound like they are choking on jizz. Not surprising.

TEH HARDCORZ!
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18.08.2010 - 23:26
Rating: 10
LordMaiden

"It has been four long years since the last Iron Maiden album, almost to the date. And as the day of release of the 15 studio record, The Final Frontier approached, the buzz in the air for diehard fans began resembling that of a Cup Final match. At last, August 16 was upon us, and the long awaited D Day (in Sofia, Bulgaria, anyway) arrived. A swift cup of bitter coffee in the morning and off to the music store before work, but as luck would have it - it was closed. I extended my heartfelt wishes to the family of the store's owner and vowed to be back at 6pm. Several hours later, I ran through the front door, and with a sweaty grin asked the bloke behind the counter:

"Do you have it?"

"Have what?" And almost as soon as he realised the sheer daftness of his question, he pulled a grin and said "Oh, right mate, yes, of course we got it."

Iron Maiden are a band who are unflinchingly British heavy-metal but who, unlike many others around, are not afraid to evolve their music, but do so in a way that preserves their heritage and identity. The Final Frontier (or rather, the New Frontier) has nothing to do with Killers, or Piece of Mind, or Somewhere in Time. It has no relation to Brave New World or The X Factor either, and yet, the unmistakable Maiden signature is evident from top to bottom. It takes only two notes for you to know, that this is, indeed, Maiden. They have evolved over the years but fans should - and we do - take each album as it is. And herein, lies the problem. Although I am supposed to write a critical review for the album, being a die-hard Maiden fan since 1989, it is all rather difficult, because I tend to be more critical and do take it more emotionally than someone neutral who would simply listen to it and just reflect on it.

The Final Frontier begins with Satellite 15, a four-minute introduction to the title song The Final Frontier. This opening is as dark as Maiden gets. To say that this song is bizarre would be a gross understatement. The bass, drums, guitars and the vocals sound like you are in a spaceship drifting somewhere in space. Uncontrollably. Chaotically. The dimension of time, space, madness and chaos all intertwined, blasted through the bass of Steve Harris, and sound of the triple guitar attack. Nicko McBrain's drumming is heavy and atmospheric, and you are instantly submerged in some bizarre world. The fabric of the sound, the sheer chaos of it all is completely un-Maidenish, considering their obsession with immaculate harmonies and melodies. And then suddenly one drifts into the Final Frontier, and a more typical Iron Maiden sound.

To analyse the album - song, by song, would be tedious, it would take ages and it will not do the music any justice, so I will refrain from doing it. There are several reasons for that. The album is very complex, rich in composite harmonies, time changes, elaborate and epic solos and diverse vocal lines. Everyone would hear something that someone else is bound to omit, or not bother reflect on it. What makes the album hard to describe is that it lacks "distinguishable hits", just as there are no "weak links". It is the sort of composite album that takes time to grow on you, it needs to ferment properly, one must listen to it several times, and with each go, new covert harmonies, solos, drum beats, vocal and bass lines, are discovered.

What to expect? Its a conceptual album for the most part, much like the 1988 vintage Seventh Son of a Seventh Son, only the theme is futuristic, although not all songs would fit the mould. And apart from The Alchemist, Coming Home and Mother of Mercy (songs that are roughly five minutes in length), you will be treated to an epic, after epic, after epic, songs which are anywhere from eight to eleven minutes in length.

Heavy riffs on Starblind sounding like a lost spaceship, drifting through a distant galaxy, while that is interspersed with folkish melodies that first appeared on Dance Of Death, and were subsequently perfected on A Matter Of Life And Death and are now featured again. The Alchemist recalls lyrical themes of redemption, of battle-worn philosophy. And just about everywhere, you will encounter Maiden's unmistakable genetic makeup - their trademark 200km/h gallop. Adrian Smith, who is very heavily involved in the song writing process along with Steve Harris, has some mouth-watering solos, and the triple guitar attack with Dave Murray and Janick Gers, is as always, refined, simultaneously melodic, beautiful and brutal. Dave Murray has co-written only one song this time around, The Man Who Would be King, while Bruce Dickinson has co-written four, along with Harris, Smith and Gers.

The verdict? The album is positive, dark, it is heavy and melodic and sad all at the same time. Rich in beautiful vocal lines and guitar harmonies. It is soft and aggressive, heavy and enchanting. Is it better than their vintage? No it isn't, and it isn't worse. It is just different, and progressive but the Final Frontier is unmistakably - Iron Maiden. Make no mistake - there is no selling out here. Real Maiden fans ought to buy it because they will like it - it is as simple as that. It is also bound to attract its new share of fans on board of the Maiden bandwagon. As for those of you out there who never liked Maiden's music in the first place - don't worry - you won't like this one either, and that's just as well, because you are not welcomed in the community anyway.

Over a career chaptered by 15 studio albums spanning about 35 years, Maiden have always experimented with their ideas, but since Dickinson and Smith returned to the fold for Brave New World, the band have enriched their patented gallop with a generous dose of musical exploration. The scary thing is, they are getting older, better and more refined with time.

Considering their age, and the amount of time Maiden has been around, it is shocking just how good, modern and relevant they sound - by doing exactly the opposite - never being fashion conscious, never betraying their roots, and never wanting to be bloody relevant in the first place.

Was it worth the wait? Abso-bloody-lutely.

Up the Irons!"

http://www.sofiaecho.com/2010/08/17/947806_the-final-frontier-the-return-of-iron-maiden
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18.08.2010 - 23:28
Rating: 10
LordMaiden

"Reviewing Iron Maiden is always a challenge, how do you judge a new album from such a monumentally important band? Do you try and compare it to the back catalogue or, because of the bands size, take each album as an individual cog of the big machine that is Iron Maiden? It's a tough obstacle to get over - but regardless of how you look at it, The Final Frontier is one hell of an album that is sure to make any Heavy Metal fans top 10 albums of the year.

I personally think it's only fair to judge the band on their recent material, in that sense the fifteenth studio album from the veteran British metalers falls somewhere in-between Brave New World and A Matter of Life And Death, cherry picking the best elements from each while injecting some of the classic Iron Maiden punch and rush of blood to the head energy that they do oh-so well.

Despite the fact that it's their longest studio album to date, clocking in at just under 77 minutes, it doesn't drag it's heals as much as AMOLAD, never resorting to retreading the same chorus/riff structure that so much of their previous effort tormented us with. No instead, the riffs are back! The melody and harmonies from the three guitarists feels natural this time around, nothing feels engineered - it's an album from the heart of Iron Maiden, them repaying fans for sticking with them still into a new decade.

The choruses feel massive and there will be plenty of times where you'll find yourself with a massive grin plastered over you face, Dickinson's taking names and kicking ass with this one -his vocals are ball tinglingly good."

On the most part it's an album full of great tunes, taking the choruses, fun, urgency and power of BNW and masterfully merging it with the progressive, epic elements of AMOLAD. For the most part it works well, for every poor song like Coming Home and the completely unnecessary 11-minute When The Wind Blows, you get two absolute head-smashing screamer. The Talisman and title track The Final Frontier are sure to go down as live classics; The Talisman especially is one of the songs of the year - a fucking screamer!

All in all if you enjoy Iron Maiden then missing this would be like unforgivable. It's a grower for certain, but the more I listen, the more I get completely engrossed in the overall sound and atmosphere of the album. It's dripping with passion, Iron Maiden have given two fingers to the doubters.

Let's hope this isn't the Final Frontier for the band, because clearly they still have many other universes to explore.

http://origamikid.wordpress.com/2010/08/15/iron-maiden-the-final-frontier-review/
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18.08.2010 - 23:31
Rating: 10
LordMaiden

"By now, of course, you will doubtless have taken the opportunity to listen to The Final Frontier. More popular than ever and globally revered in a way that no other metal band has ever come close to achieving, let alone sustaining for three decades, Iron Maiden continue to inspire debate because what they do matters to the metal community as a whole. The last decade saw the band capitalize on the momentum generated by that much-anticipated reunion with singer Bruce Dickinson and guitarist Adrian Smith by releasing three exceptional studio albums and embarking on the kind of grueling tour schedules that most bands of this vintage would avoid like the plague. The fact is, Maiden do things differently, with an intense work ethic and respect for both their fans and their own art that makes them largely unique, and whether you have stayed with them for all these years or lost interest somewhere along that long road, it's hard to imagine a world without a new Eddie, a new stage show and some epic new songs every few years. This time round, however, things seem even more feverish and hyped-up than usual; a testament to the fact that Maiden seem to be defying age and logic by getting bigger than even in their '80s heyday. With a new generation of fans eagerly accepting the Brits' status as metal's acknowledged kingpins, the excitement surrounding the release of 'El Dorado' as a free download and the server-crashing race to see the full, sci-fi grandeur of the video for this album's title track were monumental in their intensity.

Consequently, The Final Frontier really needed to be, at the very least, the equal of 2006's A Matter Of Life And Death, an album that split the vote to some degree but which most fans agreed was one of the strongest Maiden albums in 20 years. The bad news is that if you didn't particularly enjoy AMOLAD or the two albums that preceded it, The Final Frontier is unlikely to restore your faith in your one-time favourite band. The good news (for everyone else, that is) is that the fifteenth Iron Maiden album is a stunning piece of work that expands on the band's recent progressive explorations, takes them into new textural and melodic areas and does new and intriguing things with that instantly recognisable compositional formula. From the unexpectedly bizarre whooshes and robotic clatter of 'Satellite 15', the album's opening four-minute intro, it should be abundantly clear that compromise has once again been left firmly off the agenda. Interestingly, some people seem a little confused as to whether they want Maiden to repeat themselves ad nauseam and whip up a quick 'Aces High' Part 2 or two or to keep pushing the heavy envelope. The Final Frontier suggests that you can have it both ways. For those hankering after the short, sharp slaps to the forehead that made the band such a huge worldwide phenomenon in the '80s, the muscular hard rock of the title track, the propulsive rumble of the banker-baiting 'El Dorado' and the snappy, Fear Of The Dark-era spring of 'The Alchemist' all get to the point quickly, delivering the kind of honest but exuberant thrills that have long been a Maiden trademark. Better still, gloriously overwrought quasi-ballad 'Coming Home' is simply the best lighters-in-the-air anthem the band have written since 'Children Of The Damned', replete with a joyously bombastic chorus that packs a giant emotional punch without ever seeming mawkish or cynical. The only other tracks that clocks in under the six-minute mark, 'Mother Of Mercy' is the most intricate and obtuse of the shorter songs here, but as Dickinson edges towards the top of his range and his band mates stir up some brooding, war-torn menace around him, this album's dark but daring heartbeat is clearly audible.

It is, of course, the more overtly progressive and extravagant end of Maiden's recent output that has bred the most dissent from hardcore fans who, despite all the nostalgia tours and chances to hear those hallowed old songs, will not be satisfied until Martin Birch is brought out of retirement and Eddie heads back to 'Acacia Avenue'. But this album is not intended to placate anyone but the men who created it, and with songs like 'Isle Of Avalon' and 'Where The Wild Wind Blows', Maiden are proudly proclaiming the bloody-minded determination that has enabled them to survive with dignity in tact after so many years of active service. 'Isle Of Avalon' is plainly Adrian Smith's baby, with its chiming, left-of-centre chords and tantalizing, slow build-up, but it's also a sublime demonstration of Dickinson's ageless vocal skills, as its colossal chorus erupts amid lengthy passages of elegant but forceful progressive metal that seem almost to mock the notion that Maiden have ever been stuck in a rut. Similarly, 'When The Wild Wind Blows', a Steve Harris composition from the opening seconds to a beautifully pitched denouement, contains enough familiar traits during its deceptively smart 11-minute duration to provide a link with the past while still pushing Maiden forward into atmospheric and harmonic territory that is as new to the band as it will be to the fans. With comparable acts of bravery being played out during the trippy surges of 'Starblind', the bold pirates' tale of 'The Talisman' and the gorgeous tangential shifts and dynamic flashes of 'The Man Who Would Be King', this is a long way from sounding like a closing chapter in a grand saga. Instead, for all the rumours of this being the last Maiden album and other such speculative balderdash, The Final Frontier sounds like a stepping stone to a few more years of business as usual and, in all likelihood, yet more creative endeavors to come. It won't please everyone and nor should it. Maiden gigs will remain a celebration of the past and present, but fittingly for an album adorned with such galaxy-bound imagery, this is a thrilling and deeply satisfying glimpse into a brave new future for the people's metal band. "

http://www.bravewords.com/news/144662
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18.08.2010 - 23:32
Rating: 10
LordMaiden

"August 16th, and the new Maiden record is out! Here's my review to it.

The Final Frontier (2010) is Iron Maiden's 15th studio album, and it goes to show that when a band is good, it doesn't matter how old they are, they're still able to make powerful, beautiful songs. The album may sound a bit strange at first, but it's the kind of album that will really grow on you if you give it more than one listen.

Let's take a look at the album track by track:

01. Satellite 15... The Final Frontier (8:41) - The opening track of the record starts out with a weird bass riff. Soon the drums and guitars kick in, and the song takes up a strange alien-tribal like feel, with the guitars doing the alien part and the drums providing a very tribal groove. The song goes on this way until about 4:35, and at 4:36 the song changes drasticly into a more classic style Maiden song, with powerful drumwork and riffs, strong bass-lines, catchy choruses and great solos. In essence "Satellite 15" and "The Final Frontier" could be 2 separated tracks. Both of them are really good.

02. El Dorado (6:49) - The song starts out with an intro similar to 1986's "Wasted Years". It soon goes into the typical Maiden song with Bruce blasting out some strong vocals while the rest of the band hammers on the instruments. The song can be seen as a typical Maiden song, or a truly genius piece of music, with a lot of catchy tunes, awesome instrumental work, and lyrics that deal with today's economical situation.

03. Mother Of Mercy (5:20) - One of the strongest tracks from the album, and one of the easier ones to get under your skin, in an album full of complex tracks that need more than one listen to be truly appreciated. It starts out with a dark, kinda proggy intro, and maintains the dark approach throughout the song, with a chorus in which Bruce Dickinson sings with his typical passion. The lyrics are mind-blowing, and the instrumental is awesome aswell, a sinister and dark war song.

04. Coming Home (5:52) - The song talks about Bruce returning home and seeing the lights on the runway as the plane lands on the ground. It's a powerfull ballad with a strong and heavy approach, and one of those choruses that will make an entire arena sing along as if there was no tomorrow. Also in the lot of best songs from the album.

05. The Alchemist (4:28) - This is the song that will remind you most of the old Maiden albums. Though the song has the style of "Fear Of The Dark" or even "Piece Of Mind", it manages to have a unique sound unlike anything Maiden has ever done before. Probably one of the strongest tracks to be played live that appear on this record.

06. Isle Of Avalon (9:06) - A strong contender to most epic sounding song in the record, a vague reminder of 2003's "Paschendale", it contains strange but catchy melodies, unconventional time signatures, that could very well belong to a Progressive Metal band, and a dark and eerie feel to it that makes this song an ode to dark and sinister progressive-ism, as well as a strong song with a catchy chorus and excellent instrumentalism.

07. Starblind (7:48) - Although it's immensley technical and has some really excellent parts, it can make the listener wonder that maybe it would be better if it was a bit more condensed and not so long, unlike most of the songs on the record. A decent track, with a default: While it starts out good, it can get a bit old and dry after 4 or 5 minues in the song. Though it certainly has it's moments, it's probably one of the weakest tracks on the record.

08. The Talisman (9:03) - While listening to the song, the resemblance to 2006's "The Legacy" is evident, while it still sounds unique and different. While its dark and epic sound takes us through the song, the war-related lyrics make us shiver, as the passion that Bruce Dickinson inputs to the singing almost makes us believe that he actually lived what he's narrating. A brilliant epic and technical piece that can make 9 minutes of a song sound like 5.

09. The Man Who Would Be King (8:28) - While it has a very promissing start that makes us think the rest of the song will be mindblowing, it tends to get very boring allthough the quallity and creativity of the members of the band is evident. "Starblind" being the only other example of this on the record, this song should be more condensed to avoid getting old and boring, in an album where all the other long songs are so innovating and envolving that make them look like they're half as long.

10. When The Wild Wind Blows (10:59) - At practically 11 minutes of length, this is the 3rd longst Iron Maiden song ever, behind "The Rime Of The Ancient Mariner", and "Sign Of The Cross", and is one of the best songs of the album. It has the powerfull unsettling lyrics, the galloping bass, the strong drums and the beautifull melodies that are a staple in this album, and the abillity to make an 11 minute song sound like a 5 minute one, only capable to achieve by great musicians. A stunning finish for the album.

Taking a look at the individual performances of every band member, Nicko McBrain delivers his typical motor-drums, and builds a tight rhythmic section along with Steve Harris and his typical galloping bass-lines that are a staple in Maiden's music, while the keyboards, preformed on the album by him, fit in perfectly whenever they are played. Adrian Smith, Janick Gers and Adrian Smith work as if they were only one guitarist, and manage to play their creative riffs, twin and triple guitar work and brilliant solos with an unmatchable flow and energy. And Bruce Dickinson, who is always on his best, sings his heart out of the brilliant lyrics as if it was 1982 again.

"The Final Frontier" is definitly very demanding, and needs a lot more than one listen to be truly appreciated, but it is a brilliant album full of brilliant songs, and despite being their longest album ever, it doesn't sound like it's that big. It's certainly one of the best Maiden albums from the 2000's, and maybe even of all times, and quoting Rock Sound magazine "it might sound alien at first, but Iron Maiden's DNA is splashed all over it"

Rating: 9/10"

http://www.last.fm/user/AzraelDanic/journal/2010/08/16/3uj8z8_iron_maiden_-_the_final_frontier_%28review%29
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18.08.2010 - 23:33
Rating: 10
LordMaiden

"For a band that has achieved so much acclaim and accolades over the past thirty-five years, Iron Maiden have certainly developed a number of bad habits in recent years. These quirks aren't particularly aggravating (and haven't kept the group from being among metal's most consistent artists), but they're head-scratchers nonetheless. Give them credit however, even though The Final Frontier is the band's fifteenth album and they really don't have anything left to prove, there's still a conscious effort to address some of old problems. In some cases they're successful and in others, not so much; "Satellite 15? The Final Frontier" and "El Dorado" are two of the record's weaker songs, and aren't particularly representative of the album as a whole (continuing a strange trend which saw them promote Virtual XI with "The Angel and the Gambler", Dance of Death with "Wildest Dreams" and A Matter of Life and Death with "The Reincarnation of Benjamin Breeg"). More pressing is Iron Maiden's continuing reliance on prog-influenced metal. Although it's been generally accessible on other post-reunion albums, it makes for a far more challenging listen this time around. Essentially, The Final Frontier is the kind of record that takes several listens to truly appreciate, but it's definitely worth it.

In terms of scope, The Final Frontier isn't particularly different from Dance of Death or A Matter of Life and Death. Much of the album is dominated by sprawling, generally guitar-centric passages, and bassist Steve Harris' lyrical work expands on previously explored themes (references to religion are especially common, as are personal struggles). What differentiates The Final Frontier from past records, however, is its lack of immediacy. The hooks aren't quite as instant, the riffs aren't quite as urgent, and the album as a whole sounds dense, even long-winded at times. The bizarre instrumental that opens "Satellite 15? The Final Frontier" seems to serve no purpose other than to introduce the record in a quasi-futuristic manner with synthesizer and programmed drums (!), and is promptly forgotten when Bruce Dickinson's shouts mark the transition into the band's more familiar brand of metal. It's a flaw that repeats itself a few times throughout the album; "Isle of Avalon" sports a number of ill-advised guitar solos that sound out of place in the generally low key track, while the two minute clean guitar intro in "The Talisman" is far too reminiscent of A Matter of Life and Death's "The Legacy". With three tracks exceeding (and two approaching) the nine minute mark, it's due to moments like these that contribute to The Final Frontier's bloated tendencies.

With repeated listening, the album's strengths become more apparent and it becomes easier to overlook its weaknesses. The final four songs (intro to "The Talisman" aside) are on par with just about anything this side of Seventh Son of a Seventh Son; Dickinson is at his best in the sombre sounding "Starblind", combining with exceptionally written riffs and a long, yet tastefully instrumental section to make for a definite highlight. "When the Wild Wind Blows" is another standout, not necessarily for the instrumental complexity that guitarist Dave Murray promised, but rather for Harris' vibrant storytelling. Speaking of lyrical creativity, there are definite signs of improvement on the band's part. Of The Final Frontier's ten tracks, only the title cut features the mindless repetition of the song's name ala "No More Lies". If Iron Maiden haven't exactly reinvented themselves they've gotten over that.

Recently, some of Iron Maiden's most underrated songs have been their shorter pieces, such as "The Fallen Angel", "The Mercenary", and "The Pilgrim". While the lack of complexity probably generates less fanfare (it's understandably easier to get excited over an epic like "Paschendale" than a "New Frontier"), but their more straightforward songs are just as well crafted. The melodic riff styles utilized in "Mother of Mercy" and "The Alchemist" slightly resemble Iron Maiden's classic work (albeit through a modern lens), while "Coming Home" cycles between a sentimental, ballad-esque piece and rousing rock. With the possible exception of "Starblind", "Coming Home" is the most inspired song on the album, and it only has two solos. Imagine that! Seriously though, one almost wishes these kinds of songs were more predominant as they're just as great as longer "epics", but offer up a different vision of the band's sound that they've seemed to lost sight of.

The Final Frontier isn't the easiest record to get into, but there's a wealth of material to be enjoyed after initial spins. While tracks like "Coming Home", "Starblind", and "The Man Who Would Be King" don't have the same flash as some of Iron Maiden's more famous songs (at least at first), they aren't lacking in the vigour or enthusiasm the band has almost always maintained throughout their career. And ultimately, this is what makes The Final Frontier worth returning to time and time again."

http://www.sputnikmusic.com/album.php?albumid=58531
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18.08.2010 - 23:46
Rating: 10
LordMaiden

" The four-year gap between 2006's "A Matter of Life and Death" and Iron Maiden's 15th album is the longest of the band's 35-year history, but with the six band members all well into their 50s, the slower songwriting pace benefits them hugely, as for the fourth time in a row they've put out a record that holds up well against any of their recorded output in the 1980s. In fact, in some ways this is the most ambitious album Iron Maiden has ever made, a 76-minute opus loaded with long songs that, more often than not, require some time to settle into listeners' heads.

This is still a band that cares about how an album is presented, and "The Final Frontier" is sequenced brilliantly. The first third is heavily centered on accessible, riff-oriented fare, but not before the band throws us one hell of a curveball. "Satellite 15... The Final Frontier" opens with a striking, four-minute intro culled from guitarist Adrian Smith's demo tracks, a melange of tribal drum beats, thrumming electronic bass and dark, often atonal riffs. It's the weirdest, heaviest thing Iron Maiden has ever put on record, and the way it builds and builds makes Smith's opening riff of "The Final Frontier" all the more explosive. Drawing heavily from UFO, the song is a simple, melodic heavy rocker that's bound to go over well in a live setting. The next three follow suit in the same fashion: "El Dorado" boasts a contagious galloping riff lifted from Thin Lizzy, "Mother of Mercy" is catapulted by a powerhouse performance by Dickinson, and the wistful "Coming Home" is a surprisingly effective mellow tune, in a way a fitting companion to 1986's "Wasted Years."

Producer Kevin Shirley sticks to the same, no-frills tone that made "A Matter of Life and Death" work so well, but this time slightly more emphasis is placed on the rhythm section of Harris and drummer Nicko McBrain. Consequently, the bottom end of this album is massive, the robust tone hammering home even more just how powerful this band still is. Throughout the album the lyrics seem to drop hints that the band is becoming more and more aware of its mortality, and as strong as they sound now, they know they're in the latter portion of their career. Stubbornly refusing to go gentle into that good night, Iron Maiden has put together the best late-career run metal has ever seen, and the only thing we can hope is that it lasts for at least one more album. Considering how defiantly they're raging against the dying of the light, chances are it'll happen." - Adrien Begrand

http://www.kentucky.com/2010/08/17/1396134/sound-affects-music-reviews-and.html#ixzz0wzbLC6VL
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18.08.2010 - 23:48
Rating: 10
LordMaiden

"Is this it? The Final Frontier, Iron Maiden's 15th album, is a milestone with significance. Main man Steve Harris once proclaimed that Maiden's mission statement was to complete 15 albums and then call it a day. Recent interviews suggest that this comment was possibly tongue in cheek. But what if this is it? Is The Final Frontier a suitable parting shot for Iron Maiden?

The album starts in unfamiliar fashion with Satellite 15... The Final Frontier, a song in two parts. Initially it's almost experimental with rumbling bass sounding like the last few seconds of a Space Invaders game. Rumbling tribal drums thunder with industrial intent, while the guitars squall and thrum. It's only Bruce Dickinson's wail that points to this being a Maiden album. The second half returns to familiar territory with thuggish power chords and technical solos ripping forth. Thematically, the story of a space explorer lost in the unknown is not unlike David Bowie's Space Oddity but it also evokes the spirit of Maiden's own Somewhere In Time album.

Indeed there is a retrospective feel to the album. Recent single El Dorado is introduced with a barrage of guitars that seems to feature the deconstructed riff from 1986's Wasted Years. Elsewhere there are nods to the Seventh Son Of A Seventh Son and Powerslave eras in particular, with reworked riffs and themes. It's not that the band have run out of ideas, rather that they're toying with their history and indulging in a little time travel of their own.

Initially things are kept fairly tight; the gallop of Mother Of Mercy rumbles along in typical fashion as Dickinson explores the horrors of war in bombastic style. The Alchemist's short but sweet blast recalls a time when Maiden were still quick to get to the point, and is all the better for it. Coming Home is an early highlight, mixing balladry with straight up rock chops - guitarist Adrian Smith's pop nous coming to the fore. A possible rumination on the recent world tour documented in the film Flight 666, the chorus soars as high as its homesick protagonist, the words "coming home, when I see the runways lights" ache with sincerity.

However, Maiden's songs have been expanding of late. A 13 minute saga was once an oddity; now lengthy epics are the norm. The second half of the album features five songs that stretch way beyond the seven minute mark. They appear to be little more than a conglomerate of riffs at first but, with time, they become clearer and there doesn't seem to be an ounce of fat on any of them - with the exception of the rather poor Starblind. The complexities of Isle Of Avalon are thrilling, The Talisman's time shifting riffs and salty sea-dog tale hark back to The Rime Of The Ancient Mariner, while the slow burn of The Man Of Who Would Be King reveals more about itself with every listen.

Closing the album is the genuinely affecting When The Wild Wind Blows, whose narrative borrows from Raymond Briggs' stunning animated film of the same name, about an elderly couple surviving a nuclear event. Despite the usual roar, its roots lie in traditional folk and, with its talk of having a cup of tea whilst waiting for the end of days, it's a very English Apocalypse. It closes with winds blowing across a landscape scorched by a white-hot blast. If this is to be Maiden's swansong then that's a fitting image with which to depart. However, the sheer quantity and quality of ideas displayed on The Final Frontier suggests that there are more frontiers to be explored by Iron Maiden yet."

http://www.musicomh.com/albums/iron-maiden-4_0810.htm
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18.08.2010 - 23:59
Rating: 6
vezzy
Stallmanite
Even us death metal freaks are better than you, fanboy turd.
----
Licensed under the GPLv3.
Relinquish proprietary software for a greater GNU/America.
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18.08.2010 - 23:59
Rating: 6
Daniell
_爱情_
Your stories moved me so much. I'm calling Oprah as we speak.
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19.08.2010 - 00:03
Rating: 10
LordMaiden

Written by vezzy on 18.08.2010 at 23:59

Even us death metal freaks are better than you, fanboy turd.


OMG...I think I've been called a fanboy for the 100th time.

YOU WIN!!!!! What does he get, Charlie?

When one of your DM bands makes 15 albums and is still able to sell them, let me know.

But they won't because death metal is utter horseshit.
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19.08.2010 - 00:04
Rating: 10
LordMaiden

I've noticed when the reviews are positive, nobody wants to read them.

I was unaware of the illiteracy troubling DM fans.
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19.08.2010 - 00:05
Rating: 10
LordMaiden

TEH DETH METAL IS SERIOUZ!
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19.08.2010 - 00:06
Rating: 10
LordMaiden

*growl growl growl....same riff same riff same riff*
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19.08.2010 - 00:08
Rating: 6
vezzy
Stallmanite
Lol Cannibal Corpse.
----
Licensed under the GPLv3.
Relinquish proprietary software for a greater GNU/America.
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