Assasin wrote:Toivotaan niin. Itse ainakin pidan siita, etta omistan jotain fyysista, enka vain ykkosia ja nollia tietokoneella. Mielummin ykkosia ja nollia Cd-levylla
Kyllä näin on vissi. Toivotaan, että tulevat ja kyllähän niin luulisi käyvänkin.
Assasin wrote:P.S. Olen edelleen Hollannissa, eli alkaa ihmetelko kirjoitusvirheita.
Ei kai niitä nyt ihmetellä voi, kun kerran jopa nimimerkkiisi olet sellaisen saanut...
Oli jo viestin sisältö käsitelty aikasemmin. Sorry.
"Ihan perseestä vittu. Mitä nämä ihmiset, mitä täällä on tavannu, tajuaa itsemurhasta. Ei vittu mittään. Mutta me tykätään vaan niin paljon." Sentencedin Sami Lopakka Saksan maalla syyskuusa 1996.
^Hyvä että muistutit, olin jo unohtanut koko jutun. Täytyypä olla tosiaan viideltä linjoilla.
On muuten Maiden iskenyt viime aikoina taas hemmetin kovaa, eilen tuli fiilisteltyä Flight 666:n tahtiin. Studioalbumitkin on nyt kesän aikana tultu kuunneltua läpi, TFF:ää odotellen...
When you know that your time is close at hand
Maybe then you'll begin to understand
That life down here is just a strange illusion
Ranskalaisilta lisää arvosteluita uudesta levystä (vähän heikohko käännös, mutta saa jotenkuten käsitystä):
"1. Satellite 15... The Final Frontier
Iron Maiden introduced its new album by a long intro with an experimental battery sometimes tribal martial and sometimes noisy guitars. After a brief silence, some quiet arpeggios and Dickinson's voice mingles with the whole while Nicko McBrain (drums) began a rhythmic robotic double bass drum for a result which we do not really know what to think. After another silence, one of the first in a long series on this album, everything clears with a good riff and a chorus Maiden easily memorized the words: "The Final Frontieeeer The Final Frontieeeeer ..." .
2. El Dorado - 6'49:
The first single, already freely downloadable on the official website of the group, neither the tube nor the album most representative. It begins as "Satellite 15 ..." ended by a peach of a guitar with Nicko McBrain who sounded his cymbals. Such fireworks are used instead to enter a song or a concert. Follows the traditional rhythmic "horse" Iron Maiden with a riff that has its eye on the heavy / thrash metal band Megadeth. The chorus is catchy, but not memorable either and cruelly reminded anecdotal pieces of opening the two previous albums, whose presence seemed to be a formality that the outcome of some inspiration. Other mania Maiden on this album, the title ends as it began.
3. Mother Of Mercy - 5'20:
This piece in the mood somewhat medieval-looking warrior anthem, is introduced, as many more to come on this new album by one party clean sound reminiscent of the prelude of "No More Lies" on Dance Of Death. After a few blasts of guitar, it starts on the same verse, in a version with big guitars, again, the inescapable riff Bumpety Bumpety. On the chorus - again easy to remember is the song title - Dickinson gives the impression of "throwing" his voice to reach higher notes.
4. Coming Home - 5'52:
The power ballad of the album, an equivalent of "Out Of The Shadows" on A Matter Of Life And Death. It is nevertheless more catchy with a good chorus where some keyboards are a discreet appearance wise. Note also a very successful solo lover.
5. The Alchemist - 4'25:
It comes quickly into the thick of things with this title without any frills. No intro, no bridge. Just a verse, chorus, a verse, chorus, a solo, verse, chorus. End of story. A traditional title with Maiden and the rhythmic beatings of these little crooked on the ride cymbal, Nicko Mc Brain signature.
A third route, we heard all the gimmicks that make the personality of Maiden. Yet, this album seems different. Securities that were meant to be the most eye-catching, it was ultimately not retained much ... At that moment, I say "hey it's weird, I do not remember that there were so many short tracks ...". And my memory only slightly digress. Because this is the principal river avalanche tracks very impressive to me from reading the tracklisting.
6. Isle Of Avalon - 9'06:
Iron Maiden we demonstrated his talent for intros to a crescendo with the "Isle of Avalon". The guitar begins with a single ground Arabist, and is joined by the same set of double charley quavers as "El Dorado". Then the bass drum is added quietly. Like "The Longest Day" on the previous album, the battery really comes into scene with powerful explosions and several runs of toms to the dramatic effect indisputable. A good piece in the tradition of epic tracks from A Matter Of Life And Death.
7. Starblind - 7'48:
After a further preliminary clean guitar / keyboards and silence, the British shackle on a heavy part in lively melody, however subtly tinged with melancholy. The excellent chorus - a bit melodramatic speed on the edges - alternates between low and high vocal lines.
8. The Talisman - 9'03:
Against the backdrop of acoustic guitar, old magician, Bruce Dickinson seems to tell a story with a voice aged to cross the reassuring and disturbing. Then the prelude to a close with a downturn announcing a slight pause, then a whirlwind start on a heavy part. It's even funnier, you know the trick. The Talisman is nevertheless a very good headline. Nine minutes is a succession of moments and pass like a letter in the mail with catchy guitar riffs, call for "woooooohoooohooo.
9. The Man Who Would Be King - 8'26:
For this piece whose title recalls the names of albums of Blaze Bayley, Iron Maiden played the card with a surprise ... intro a clean sound. Again. This prelude ends again with a small pause before the clutch on title removed. Halfway through the group causes a fracture but without confusing with a change of tempo which serves Hollywood twist. Also, a nice guitar solo. The song ends with an interesting way by a slowdown, a gradual decrease in intensity, a true epilogue to this moment of bravery heavy.
10. When The Wild Wind Blows - 10'59:
"Oh, no!" leak some journalists including yours truly when the wind noise starts and the last piece that we discover the length of it. The fact is that the finale of "The Man Who Would Be King" was a good conclusion and, having stuffed the four mini epic, move on to another piece of river which more is the longest album it does not want. Needless to say, it was once again right to a prelude keyboard / guitar clean. Bruce Dickinson's singing takes on a new dimension to storytelling. After a great suspense generated by yet another silence, the song starts and the guitars take up the theme of the prelude in its power. Classical but effective. "When The Wind Blows Wild" is the happiest of the disk. Can not hop on the spot. After 11 minutes my faith very palatable and some self-plagiarism pardonable, as the fence is so perfectly symmetrical, some arpeggios giving way to wind alone.
Fed up with the journos who routinely start with "there is only a first listening, it is difficult to say, listening depth is needed to truly identify subtiBLABLABLA ...". As we know, stupid, that's exactly the exercise. Here is an opinion with a complete lack of perspective assumed, at the end of this session. But be careful eh, this is a first listening, it is ... ahem ... What finally here.
A page turns. Maiden does not know to write hits. Maiden is no longer as comfortable and incisive, as shown winded and anecdotal "El Dorado" and "The Alchemist". Ironically, the songs are more catchy River. Much better built, scripted and less redundant as could those of the previous album, they are good epics with a succession of good riffs, good melodies, good tunes and clever twists that do not necessarily revolutionize the refractory breaks progressive structures. A marked improvement nevertheless dried up by this redundancy in the way of writing that, after the fifth intro clean sound, smile. Should there be, Maiden, today is the prog '. Good prog '."
Video oli ihan hieno, mutten siitä kuitenkaan hirveästi pitänyt, kun ei jaksa nuo musavideot muutenkaan kiinnostaa. Kappale oli ihan hyvä, mutta alkoi tympimään lopussa jo se kertosäkeen toisto.
Last edited by Tumppa on Tue Jul 13, 2010 17:08, edited 1 time in total.
When you know that your time is close at hand
Maybe then you'll begin to understand
That life down here is just a strange illusion
Haha, asennekysymys tämä on. Jokainen tietokoneista vähänkään tajuava tietää, että näinhän tässä käy. Meitsi odottaa kaikessa rauhassa työmaalla tilanteen tasoittumista ja koittaa pitää samalla firman nettisivuja ajan tasassa. Pakko myöntää, että täällä duunissa kärsivällinen odottelu on paljon helpompaa, mut kotona voi iskee vaik DVD:n tiskiin ja kokeilla tunnin päästä uudestaan.
Vähä tekis mieli tehdä uutinen tosta vidosta ja iskee se Turun Sanomien nettiin, mut olis se aika härskiä.
Onko se sitten niin, että Satelite 15 on tavallaan intro, mutta on levyllä samaa raitaa TFF:n kanssa. Videoon ei kai otettu mukaan vain siksi, että 8min musavideo olisi liian pitkä. Niiden mielestä.
"Living in this place,
Staring into space we find
We might share the corners of our lives
Infinity runs deep,
Eternity that we can't keep
Melting through the frozen wastes of time" Bruce Dickinson - Navigate The Seas Of The Sun
Summerganon wrote:Onko se sitten niin, että Satelite 15 on tavallaan intro, mutta on levyllä samaa raitaa TFF:n kanssa. Videoon ei kai otettu mukaan vain siksi, että 8min musavideo olisi liian pitkä. Niiden mielestä.
Näinhän se on oletettava.
"Iron Maiden are 10% cooler than every other band!" -Lars Ulrich
Video on kieltämättä oikein hieno ja kappale vaikuttaa lupaavalta. Hieman ehkä videon taustaäänet sotkee, mutta kerkeäähän tuota kuunnella sitten levyltä.
Biisi näytti koostuvan muutamasta eri riffistä, jota jankkasivat sen 5 minuuttia. Täytyy olla aivan saatanan kova 3 minuutin intro tuossa edessä, että nostaa fiilikset tästä korkeammalle.
** Iron Maiden **
2005-2025 – yli 85 keikkaa Euroopassa ja USA:ssa...
Jees, komia video, biisi oli vähä hohhoijaa ainaki näin ekalla kertalla, mut eipä se Maideni oo kovaa avausraitaa saanukaan kasaan kymmeneen vuoteen. Mut turha biisistä vielä tässä vaiheessa paljoa puhua, se on kumminki pätkitty videota varten puoleen. Olkoonkin, että alussa introa sun muuta. Lopussa kuulu olevan pieni loppuhehkutus, onkohan niitä levyllä enemmänkin? Toivottavasti ei.
Mut ei mitn, ajatus siitä, että uus levy ei oo mikään helppo kuunneltava senku vain voimistuu. ja se ei oo huono asia.
Ei toi kyllä ihan täysillä vakuuttanut. Pikkaisen köpö biisi, oli paikoitellen silkkaa AC/DC:tä. Useampi kuuntelu paljastaa biisin todellisen luonteen. Otetaan uusiksi...
