Seeing as I’m one of the main Iron Maiden fanboys here I figured I should probably write up my review of the new, and for me at least, highly anticipated Maiden disc “The Final Frontier”.
Unlike others that have voiced their opinions (and as I’ve stated many times over, you are rightly entitled to them) that Maiden are no longer relevant as a recording band and that the glory days are over as far as new material goes. Personally I love the direction Maiden have taken, the more progressive writing style while still sounding enough like the band I got into back in the 80’s. You will never mistake an Iron Maiden album for anything but a Maiden album; they have a sound so distinct they’re almost a genre unto themselves. Others have tried to take the power metal recipe and modernize and homogenize it, but they still don’t sound like Maiden. Bruce, Steve, Dave, Adrian, Nicko, and yes, even Janick, still produce relevant and important heavy metal music some 30 years after first hitting the stage. They will probably sell more copies of this album than many of the other heavy weights of metal will this year, and will play to sold out venue after sold out venue on this current world tour. The Iron Maiden of 2010 is still important and meaningful in the world of Metal, and this disc is as it should be, something old and something new; it at times is the galloping glory of the past and yet it is also the progressive dark Maiden of the 21st century as well.
The album is the longest in the Iron Maiden catalog so it is a bit of a haul to listen to it from front to back (a bit of my old school vinyl preference shinning through), clocking in at almost 1 hour and 17 minutes it is a biggie. But, just like the last Maiden disc, it needs to be listened to in its entirety a few times to fully appreciate it, or many times over in my case. I’ll be the first to admit that AMOLAD was a bit hard to get into when I first listened to it, one song at a time, in bits and pieces, not as a complete piece of work. However, once I did, it started to grow on me rapidly, the dark progressive nature of it really started to worm it’s way into my grey matter and I really started to appreciate what Maiden had created with AMOLD. It was so different than anything they had made prior, yet it still sounded like Maiden and really became something I would end up listening to for months on end, at least a few times a week – front to back as I think they intended it to be listened to. But enough of the past – let’s get to Iron Maiden 2010.
The album kicks off with the split opening salvo of "Satellite 15... The Final Frontier", the first several minutes being something very new for our sextet of metal musicians in the form of lengthy introduction piece made up of ambient noises, heavily processed tribal-like drums, guitar swells and stabs, all heavily processed with echo and delay. Bruce starts adding lyrics at about the 3:25 mark and sings of our astronaut desperately trying to contact earth as he drifts farther and farther off course.
To be quite honest I could have done without about half of the introductory part “Satellite 15” and just had them launch directly into the second half, the much more entertaining, “The Final Frontier” which like openings of more recent albums is a straight out upbeat rocker. Much in the mold of “The Wicker Man” from BNW or even “Different Worlds” from AMOLAD, it’s fast paced, and less progressive than what is to follow. I’m not surprised it is the song they chose to use for the first video released from TFF (we will just call it TFF instead of “The Final Frontier” from here on out) as it is catchy as all hell with some great riffs and a chorus that sticks in your head and will have you singing it as you’re driving along in your car hours after hearing it.
“For I have lived my life to the full, I have no regrets, but I wish I could talk to my family to tell them one last goodbye; the finale frontier, the final frontier.”
Aside from the unnecessarily long intro, it’s a great opening to this 15th studio album from Iron Maiden, a real upbeat, sing along song that gets the head banging and the air guitar going. Right from the start you can hear some of the elements that make up the newer Maiden sound – they have become really adept at writing for three guitarists as you can hear all the layering going on throughout the song, each guitarist adding his individual part to the whole, each playing something a little different than the other. It makes for a very dense sound with parts that upon first listen you may miss, but as you listen more intently, really start to shine through. I find this to be true of the entire album and really think this may the most complex arrangements that Maiden have ever created.
Next up is the first song that was released from TFF, “El Dorado”. I know quite a few folks were concerned about the production when they first heard this song, enough so that Iron Maiden decided to release it as a downloadable MP3 as the first leaked versions were pretty bad. The official MP3 was better, but it’s still an MP3, not exactly the sonic experience that most of us want to listen to a new album with – at least those of us with an appreciation for higher fidelity in our listening pleasures. Bruce even started telling the audiences at shows the album will have sound much better than that early leak, and to not use that version as a barometer for the production of TFF.
While I can’t speak for others, and I know in these circles I’m probably going to be in the minority, but I’ve liked the sound that Maiden has gone for in the last several discs, it’s a nice natural sound, not overly produced to the point of much of today’s metal. I do find the production on TFF to be better than that on AMOLAD; it’s not as dark as the previous disc was. Just like the rest of you I’ve read this less than perfection direction has been at Steve Harris’s request, but still Kevin Shirley is the producer and I’m sure he’s had a large influence on Maiden’s 21st century sound. But back to “El Dorado” – like many, when I first heard it I was a bit underwhelmed, but like almost all of new Maiden, it takes on a whole new life when listened in the context of the full disc and just like most of newer Maiden songs, it required multiple listens to fully appreciate. It starts with a buildup that almost sounds like the end of a song, but then the drums and guitar come in with Steve’s driving bass line powering the song into its first verse. A song dealing with the risks of seeking wealth and fame, and the hefty price to be paid in this morality tale of our treasure seekers and the evils they are tempted by and their eventual undoing. This song quickly reminds you that this is Iron Maiden with its unmistakable galloping style and driving bass and drums. While Bruce definitely sings with a more restrained range these days, he still snarls and comes across as the consummate storyteller telling this tale for us, almost spoken word, snarling at times (almost reminds me of Dave Mustaine in “Peace Sells…”
, but then belting out the chorus when its time comes. It’s pretty clear that all three guitarist get their chance to show their talents in the solo section as it is a three performances back to back to back, the center section seems to be handled by Dave in all his legato greatness. While it took its sweet time getting there, “El Dorado” has really grown on me and I find myself singing it out loud while listening to it in the car.
Next up is ” Mother of Mercy” which finds us revisiting a common Maiden theme, that of war and that of a wounded soldier speaking to another about the reasons or lack thereof for the violence and suffering as he is dying. He questions why he is here, why he has committed the violence he has and wondering if it was worth it. It is a great example of modern Maiden. The song is dense with many layers that all build into a great chorus. It starts with clean guitars strumming a chord progression and a single solo guitar repeating a slightly distorted melody line. Bruce comes in with a mournful voice, begging for forgiveness for the evils he has done. The drums come in with the slow pound of a single drum then the song really gets going with a great riff that gets repeated through the song. Like many of the songs on TFF I find the chorus section extremely catchy and find myself singing along. The song has a short but soulful solo – probably Adrian.
The forth track of TFF is one of my favorites. “Coming Home” continues in our new progressive mold in the form of a ballad (ballad and Iron Maiden – how dare they you say), and it’s a good one at that. An arpeggiated guitar part opens the song and leads into the first verse of our tail of returning home, almost from a pilots view (Bruce is after all a fully licensed commercial pilot) and Bruce comes across quite sincerely in his singing as he speaks of returning to ” Albions land” Great Britain in this song.
“Coming home when I see the runway lights; in the misty dawn of the night is fading fast. Coming home, far away as their vapor trails alight; where I’ve been tonight, you know I will not stay.”
Maiden pulls of this ballad stuff much better than one would think. It could have come across as sweet and sappy but it does not – it comes across quite sincere. This song also includes one of the best solo sections on the album – it’s a great emotional piece not to dissimilar to something Gilmour might do. After several listens I’m really amazed at the playing of our three guitarists on this disc – it is some of the most inspired playing I’ve heard from them in a long time. While many say that Maiden are past their peak, this album is quite possibly the most complex and yet accessible album they have released in a long time.
“The Alchemist” comes fast and furious, never letting up. At 4:30 seconds it’s the shortest song on the disc, but it’s a good one – very reminiscent of Iron Maiden’s past – very punkish at times like that found on “Iron Maiden” or “Killers”. Stabbing and driving guitar work powers this song along with thumping drums and our story of Dr. Dee (John Dee) and his magical investigations. This tale of occult investigations with Edward Kelly is a great story and makes for a great song. It’s over faster than it starts it seems, but its well worth the short time it takes. It really is a throwback song of sorts and really gets the head bobbing.
Another standout track and the first of what are the long songs leading to the end of the disc is “Isle of Avalon” another tale of home for our boys. At times the music reminds me of “Rime of the Ancient Mariner” with its ebb and flow. It’s a song of ancient Celtic beliefs with Annwyn (the land of departed souls) and Mother Earth. The music is some of the most experimental that Maiden has ever done, at times reminiscent of Yes or Genesis (if they were a bit heavier). The guitar work is once again some of the finest that Maiden has ever committed to disc, almost jazzy and bluesy at times, but always extremely progressive and memorable. It’s a long song, but you will not regret taking the journey. Right now it’s probably my favorite track on TFF – it’s that good.
Next up is “Starblind”, once again another very different song for Iron Maiden, another extremely progressive song. I think Maiden has to really become much more a progressive metal band than what one would consider a tradition metal band; no longer the power metal of old, they are most definitely more in line with something like “Threshold” than say “Primal Fear” or “Gamma Ray”. “Starblind” begins with a staccato guitar over an arpeggiated pattern with a soft sung opening by Bruce. Then all goes silent and a great guitar riff comes in with some great odd time drumming. This is a perfect example of 21st century Maiden – this is creative song writing, no longer straight out 4/4 power metal, many time changes over some great riffing and some great leads. While I think this song suffers a bit from Bruce’s limited range that has come with age, it still works. A riff similar to the one near the beginning leads into the solo section where once again we have some really inspired playing with leads by Dave, Adrian, and Janick – this song makes me want to play my guitar for some reason. After the solo section we have some great bluesy work leading into the ending minute and a half. While I can understand some not taking to this song as it is quite different than Maiden of old, but I think you are selling Maiden short – this is what I look forward to with a new Maiden disc.
“The Talisman” opens with some nice acoustic work (once again something quite different for our boys). Bruce starts another tale of a sea bound sailor telling his story. The song suddenly explodes into a melodic rocker. This song builds layer after layer, getting denser as it continues. Bruce really stretches the vocal chords on this one, but he sounds more comfortable here than on “Starblind”. The solo section finds our guitarist really experimenting with some different approaches, even including what sounds like a slide guitar. This song almost has a Zepplinesque feel at times with some orchestrated sounds under the riffs. Nicko really shines on this one – showing his modern diversity. ”The Talisman” is another highlight for me on this disc.
Another acoustic/electric opening starts of “The Man Who Would Be King”. After the soft opening the song picks up with some great riffing over the strong backing of Steve and Nicko. Each guitarist has his own art to play, showing the layering that three guitarist are capable of. Midway through the song we have to stop to take a breath and experience something that can only be described as almost U2ish (yes, I did borrow that little description from the Music Radar review, but there is no other description that fits – it sounds like U2). This is modern Maiden through and through – it would be a mistake to categorize it as anything like the other power metal bands of today – it’s its own beast of sorts, different, but familiar. This is definitely your father Iron Maiden (I know – I’m old enough to be some of yours father).
Last up is “When the Wild Wind Blows” a great story of an old couple that mistakes an earthquake as a nuclear attack they have been preparing for and have been convinced of because of the media. When the walls start shaking, they take to a shelter and poison themselves to avoid the horror of the fall-out. It begins with a very folksy type intro leading in to a song structure with a very Celtic vibe. Once again a great take on their more modern sound – very orchestrated and layered. Like many of the songs on TFF, all the guitarists get their chance to shine and each experiment (can you see a theme with this disc) with tones and techniques. A great ending to what I consider a great disc.
As I stated before – this is just my opinion and it is very driven for the love I have for this band. They always have been one of my few favorite bands, and as such I find little fault in experimentation and understand the creative nature of musicians. Anyone that thinks Maiden has sold out to commercialism has not listened to modern Iron Maiden – it’s so far from commercial it’s almost humorous to see someone say it. If anything, Maiden has become anti-commercial, creating artistic music that they enjoy while still being accessible to those willing to give it time to settle. They write very long songs, but never do they “waste space”. These songs are just as they need to be. I hope that they continue to release new albums as long as they have the desire to – I’ll continue to listen.
I know many will disagree, but that's OK – I’ll enjoy every minute of it and so will millions of the other Iron Maiden faithful.
UP THE IRONS!!!
