εγώ πιστεύω ότι εύκολα θα είναι ο δίσκος της δεκαετίας, πείτε με υπερβολικό αν θέλετε.
Αυτής, της επόμενης ή μήπως της προηγούμενης?
Μακάρι να κλάψουμε όλοι μαζί
στο the final frontier παντως δεν ητανε και τοσο καλες οι κριτικες απο site κτλ.οποτε δε νομιζω να τα λεει απο ενθουσιασμο.ας περιμενουμε να δουμε.4/9/2015.το στοιχημα ειναι να εχουμε ενα καλο δισκο αν οχι καλυτερο ισαξιο του bnw.και να τον ακουμε ευχαριστα.
Αχα. Τώρα κατάλαβα ένα μήνυμα στο κινητό απο άλλο μέλος του φόρουμ που μου έμοιαζε ειρωνικό.
ΚΑΛΑ ΕΚΑΝΑ ΚΑΙ ΔΕΝ ΣΟΥ ΑΠΑΝΤΟΥΣΑ ΤΟ ΤΗΛΕΦΩΝΟ ΜΕΤΑ ΡΕ ΑΡΧΙΔΙ:!:
*σορρυ παλικάρια, αλλά δεν το είδα δει. έμπαινα μόνο για τον σαματά που κάνουν τα παιδιά με τους αριθμούς στο νικ.
δε ξερω γιατι αλλα αυτο μου φαινεται καπως ρατσιστικο.
Πιάστο ξανά από την αρχή διορθώνοντας και συγκρίνοντάς το με τα τελευταία Maiden. Αυτό στο λέω επειδή ο δίσκος της δεκαετίας έχει βγει πριν μερικούς μήνες. DHG. Τέλος.
καλα οι maiden εννοειται θα βγαλουν καλυτερο δισκο, τι να λεμε τωρα. ολα τους ειναι αριστουργηματα, δε συγκρινονται με αλλους. ειναι οι καλυτεροι.
εδιτ: το dhg δεν ειναι ινστιτουτο μεταμοχευσης μαλλιων??
Το βινύλιο είναι απλησίαστο. Όταν όμως σου πουλάνε το LAD 35 ευρώ, το 3πλό στα 40 είναι κελεπούρι. Λέμε τώρα. 
Θεωρώ πολύ δύσκολο να βγάλουν οι Maiden σερί δεύτερο σερί κακό δίσκο, οπότε σίγουρα θα είναι καλύτερο από το Final Frontier. Τώρα αν ισχύουν αυτά που λέει και η κριτική τότε θα γουστάρουμε τρελά. Το μόνο πρόβλημα είναι ότι δύσκολα θα τον ακούσω πολλές φορές λόγω χρόνου, μάλλον θα τον σπάω στα δύο…
τελευταίο καλό Maiden άλμπουμ κατ’ εμέ το Brave New World…
ίδωμεν…
ti lete re ola ton maiden gamane iste me ta kala sas
Ε λογικά θα είναι μέσα στα 16 κορυφαία άλμπουμ στην ιστορία της μουσικής.
στα κορυφαια 16 δε ξερω αλλα 15αδα σιγουρα χτυπαει!
Ορίστε και στα ελληνικά η κριτική του Classic Rock για το “The Book Of Souls”.
http://www.rockoverdose.gr/news_details.php?id=40076
Τα μισά να ισχύουν από τις διθυραμβικές παπάρες που γράφουν ο δίσκος θα είναι πολύ καλός.
edit.
φρεσκο πραγμα…αναλυτικη κριτικη των κομματιων.φτιαξτε καφε και διαβαστε.
- If Eternity Should Fail (8:28)
This opening track alone signed Bruce Dickinson maintains the mystery during a rising intro about one minute and thirty seconds. A murmur and a line of ambient synth that find themselves lulled by the singer’s voice. It is far from the long introduction space “Satellite 15” (The Final Frontier, 2010), which was not the subject of a separate track and aroused the impatience of the listener for more than four minutes before taste the title track.
Then we enter the thick of it with them instinctively recognizable classic elements of the group, with the bass of Steve Harris snapping that prints the tempo and architecture harmonized guitars. This first title in almost cavalcade held a “Ghost Of Navigator” (Brave New World, 2000) with more velvet. On the chorus, the tab Dickinson is undeniable. Intonations and phrasing of her voice may be more adventurous than in classic iron maiden, and spontaneously think of some parts of his solo career (with the song was originally composed during the sessions of his previous album Solo This perhaps explains this).
Besides the title is punctuated on the end of a surprising esoteric passage, obtained with the superposition of many voices, giving rise to mind the image of a whirlwind of souls serving corridor for the spirits to the sky . The air side is not reminiscent of the short "Toltec 7 Arrival 'initially present on one of the solo albums of Bruce (Accident Of Birth, 1997).
- Speed β??β??Of Light (5:01)
Like an “El Dorado” (The Final Frontier), “Speed β??β??Of Light” has everything a potential single, starting foot to the floor in a rock’n’roll vein with the prominence of a hot guitar. The catchy riff main guide this boisterous and joyful piece with a more conventional but proving effective approach pace with an impeccable production always signed Kevin Shirley, and consistent with the post-2000 period of the group. In this case music shows great immediacy, probably due to how much of the songs were conceived, as explained by Steve Harris in Kerrang magazine, composed in studio, repeated and "directly recorded as an they were still fresh. " Dickinson provides vocals, although the refrain of abundance repeatedly raises some small eyebrow frowns. The guitar solos in turn are linked course, the opportunity to linger a moment on one of the major innovations of the sixteenth installment.
Nothing new that the combo offers long sequences playful and nifty three guitars is obvious, but this game in the triangle between Adrian Smith and Janick Gers Dave Murray, who is a few years now the frame of the house Maiden, here reaches a new high. If music of the album credits as often show a predominance of Steve Harris, Bruce Dickinson and Adrian Smith in the composition, the notes shred of Gers and the most emotional grain Murray are indeed ubiquitous yet when the three friends of the six strings “jamment” together. The musicians each with their distinctive style to share more space than they once did, although Smith’s guitar seems to remain predominant, with phrasing which he alone has the secret.
- The Great Unknown (6:37)
Carrying an evocative title this piece first suspense and household begins as “Isle Of Avalon” (The Final Frontier) by a sustained and continuous bass line whose sound and reverberations maintain the same medieval quest for sensation. The rise of the plot is slow but unlike its predecessor, “The Great Unknown” jumps faster in the deep end with Bruce Dickinson of the great days, the emotion that transpires on the verses and a chorus and rock Heavy more typical of the group.
Nicko Mc Brain then sends some toms bearing its battery and introduces a clear change in the song, rocking in a dramatic atmosphere whose grain and heaviness are reminiscent of the darkest end of the album A Matter Of Life And Death (2006) and first title “These Colours Do not Run”. The chorus, already masterful same gains in efficiency not be repeated uphill way as on the previous track. The guitars triangle game is again generous, the catchy melodies and solos soar. Everything seems so fresh.
- The Red And The Black (1:33 p.m.)
This piece of over thirteen minutes is a key piece of the album, and one of the most epic. It starts with a bass solo by Steve Harris, a first since “Blood On The World’s Hands” (The X Factor 1995). This solo captures the attention but he did not enjoy the same finesse than its predecessor, which used its time in harmonics.
Then the Homeric building is set up with first a sense of travel, escape, without cruise back to the end of the world. The rhythm of the verse is very close, not to say inspired by that of "Rime Of The Ancient Mariner '. Wink obvious eye because they are almost the same cavalcades. The song is armed with strong words on background destiny and luck in the games. Red And Black seems in this case not refer directly to the novel by Stendhal, but the colors of playing cards or play mat in a casino roulette, although this has also often served as metaphor to describe the adventures of Julien Sorel in the book.
Dickinson his side fills the screen, and no doubt that in case of resumption of the song in concert he will galvanize the public to intone in unison with him several “Oh-Ohoo-Ohoohooo” devilishly infectious.
The six-stringed instruments still abound, with catchy riffs and emotive melodies that are reminiscent in the heart of “When The Wild Wind Blows” (The Final Frontier). Smith, Murray and Gers alternate lines, and always seem to want to do more and thereby open many doors that one wonders how they will close them. The group finally settles on his feet, though a bit of hesitation could display the time of one minute to three-quarters of this progressive construction.
“The Red And The Black” has definitely everything to offer a spectacular and epic performance in concert. We would not dare speculate on a recovery of this title before an audience of 80,000 people in full Central America, the historic cradle of the Mayan civilization. This tribal clamor that energy and heat, literally and figuratively, could form the ingredients, one imagines, a concert perhaps marking the Live Rock In Rio (2001).
- When The River Runs Deep (5:52)
Past the centerpiece “The Red And The Black”, the fifth most restful trail follows the path of a mid-tempo ride routed by a lead guitar that appears to modernize a title like “Sanctuary” (Iron Maiden, 1980) and whose loud notes vibrate in a serious vein and “bluesy”. The lyrics focus back to the recurring themes of luck, bet, destiny.
As with previous titles, there is a succession of solos, and just as many influences and eras tangles. Note also on this track a very pronounced keyboards use; they add to the dramatic twists and turns where the piece finds its conclusion. In the echo, keyboards generate a small side at times electrified, magnetic, evoking the sound of a mellotron. In the end always, Bruce Dickinson will tap the notes to the depths of his guts. While a dramatic registry could be compared to the voltage “Paschendale” (Dance Of Death, 2003).
- The Book Of Souls (10:27)
It has become a tradition for several albums, the group likes to include an acoustic introduction round a piece. Like on “The Legacy” (A Matter Of Life And Death) or “The Talisman” (The Final Frontier) is Janick Gers who gets stuck and starts languorous arpeggio on a classical guitar. The climb is slow again, the decor takes its time to build, and then comes the bass Steve Harris, powerful, pounding a NWOBHM rhythmic ride, assisted by the guitar that evokes very succinctly that of "Losfer Words’ Big Orra "(Powerslave). Hard to go wrong with attention to picking notes, the wink seems rather obvious.
One begins to say that Iron Maiden decided to just what it is, and was, in a single album. During the solo stages, several eras collide, and no doubt the group’s fans think connoisseurs recognize moult and moult rhythmic or melodic elements. The proliferation of bridges and solos seems infinite. The song “The Book Of Souls” and at the same time this first disc, end with balanced acoustic fingerprint of a certain esoteric.
Disc 2:
- Death Or Glory (5:13)
To start this second part of the album, the atmosphere changes radically. A hot riff grabs us immediately, then it’s a new juggling in the influences to which the group is engaged. The good humor of “Death Or Glory” may recall the spirit of “Transylvania” (Iron Maiden album, 1980). The notes talk, quickly identifying them.
But alas torpor pre-choruses, in total rupture, emptying the verses of their rising power. Dickinson does what he can to make the playful thing, but it is then the chorus itself, dish and agreed, which provides perhaps the first disappointment of the album. With a little attention, it seems instrumentally copy of the “New Frontier” (Dance Of Death, 2003).
The musical depth “Death Or Glory” is however much less thrust than its predecessor notorious for being the only song of the group to date written by drummer Nicko McBrain, and excessive repetition of the title of the song, although 'choirs being seconded Harris and Smith ultimately makes tired or nervous.
- Shadows Of The Valley (7:32)
Like a “The Red And The Black”, the shadows of the valley as it has huge scenic potential. From the first notes, it feels like all this power and bombast just waiting to express themselves, even explode due to a “Death Or Glory” breathless. The introduction melodic phrasing crosses start “Out Of The Silent Planet” (Brave New World, 2000) and “Wasted Years” (Somewhere In Time, 1986).
You do not pick the song as the instrumentation to new heights never collapse. We will denote the long form self influence, if you want to tickle Steve Harris and his family, but remains subjugated by such generosity in the melodic luster and various heated exchanges of the three guitarists. Nicko McBrain can not rest, and distills some effects of percussion, cymbal speckle and interesting breaks. Iron Maiden invites us to fireworks, rich obvious winks, many still pouring in, riff after riff, melody after melody.
The last part generates a skin-deep emotion like a “Blood Brothers”, not failing to cause a bit of wetness in the eyes. Undeniably the shadow of the album Brave New World hovered over this piece.
- Tears Of A Clown (4:59)
“Tears Of A Clown” is a potential second single of the album, because of its more “reasonable” length, but also for his very direct gusto. Maybe even a little too direct, as it appears that more stripped “Speed β??β??Of Light” for example, and that through no particular emotion.
It is hard to put marks on this linear piece that takes off, if ever, except perhaps an abrupt break and not very pleasant to the ear that disrupts the course of the piece: the aggressive guitar, landed like a hair in the soup, do not reflect in any way the groove and the usual pile of guitars, and that upsets in amazement restful rock arpeggios which were not asked anyone. This time it comes down to cut the grass under the foot by using a hedge trimmer.
- The Man Of Sorrows (6:28)
This song which we wondered if it was an overhaul of “Man Of Sorrows” of the solo career of Bruce Dickinson is indeed a new ballad Iron Maiden. Bruce advances in micro eloquently. The song exalts the senses as did in his time “Wasting Love” (Fear Of The Dark, 1992), but with a less easy and less maudlin verse.
The cornerstone formed by the interplay of three guitarists remain in place, and this time enhanced by a keyboard, even if its foothills unsheathe the song seems enormously thick, not to mention heavy. Built right after “Tears Of A Clown”, “The Man Of Sorrows” conceals some catchy tunes by gently tap the foot, but eventually also contaminated with a form of apathy.
- Empire Of The Clouds (6:01 p.m.)
Bruce Dickinson sign only the longest track on the album and the longest addition in the history of Iron Maiden. Alongside his singing career, we know that Bruce is a keen aviation, ever since his childhood, which he spent under the authority of a military father who has spent his entire career with the Royal Air Force. Continuing to conduct a parallel line racing career, either in command of Ed Force One - the clean air of the group - on tour, or head of the airline Djibouti Airlines for several days, Bruce found here a favorite theme to ask the plot of this piece with dramatic accents.
The text of “Empire Of The Clouds” deals indeed a plane crash, the British airship R101 which crashed on French soil 5 October 1930 in Allonne (60) and killed 48 of its passengers. Less known than the Hindenburg disaster, this story must represent much in the spirit of the singer, and especially a special general resonance when one considers that at the time of writing the album in 2014, several air disasters involving aircraft line had occurred in quick succession. This eighteen minutes of tribute looks empirical. The surprise is especially size, since the song begins with a plaintive melody of piano. Harris’s bass comes in second the high notes. Then a touching violin prompt: a first for Maiden!
After two minutes of introduction, notes are more heavily printed. Dickinson of the aggressiveness we feel in touch - no, quite the hit - the piano keys and the melody in eight notes which continues to turn and becomes heady. The ensemble wants even more poignant when singing occurs, both narrative and plaintive. About six minutes Nicko McBrain raises martial bearings that increase tension and vibration emanating from the piano always. The guitars come in dance also in this long gradual development, step by step. There is a rise and a new deck while out where juggling between guitars reminds epic heart of “Hallowed Be Thy Name” (Number Of The Beast, 1982). This part corresponds to the plot - at the sight of words - the moment the airship casts off and takes the air for his travel time, between London and Karachi (Pakistan).
Then opens a new melodic sequence where the central riff been handle lifts and scope. Nicko McBrain is expanding its set of different elements, including hammering something akin to Japanese percussion, heavy and martial, which come ooching all. The synth also invites while poignant guitars are reminiscent of a melodic bridge end of “The Legacy” (A Matter Of Life And Death). The song goes like this several trips between his haunting piano riff main parties involved and three guitars. There clearly from the twelve minutes, you start to graze overdose, firstly in view of all the previous content of the album and the song itself. Musically, she would have gained impact stop there.
Suddenly, in the middle of the fifteenth minute, the scenario of the rocker piece and takes surprise a listener who could doze lightly. It is racing in the manner of a disaster film music. We feel the elements be unleashed. In the plot of the story is precisely the moment the R101 balloon crashes. Then the piece falls on the piano melody of the first verse in the last three minutes. Although innovative and concealing of the interesting parts, this piece ends up getting lost on the length, and assimilation is made more difficult by the previous 75 minutes listening. Distilling piano and violin, suspected the group to make a farewell music, but it is surely wrong about that devil Dickinson which is always hard to cover their tracks and we play again yet another round pass pass. Remember, it was he who was originally the idea of β??β??including the back cover of the album The Final Frontier, as a single group photo, an image where the musicians are in the dark , hands raised, as if to say goodbye.
CONCLUSION:
The length of the album made it clear split the album into two discs, a separation that invites the listener to agree an intermission precisely when switch to the second part. The Book Of Souls brings together all elements of the post-2000 albums, with numerous winks to the past the group round a riff, a solo, a chorus, or be content to disappoint fans according to their respective needs. With regard to the overall atmosphere of the album, one could say that it combines the power and panache of a Brave New World, the gradual approach of The Final Frontier and the dark drama A Matter Of Life And Death.
Was the group’s limited inspiration on this album? Not necessarily, it must rather see in this album a different reading of everything that characterizes the music of Iron Maiden, who turns out spontaneous and refreshing here, in short, the art of making something new out of the old times. Enjoying great musical depth this sixteenth installment therefore highlights all components of the group with a greater sharing of space between different musicians. The fun for them to play together is noticeable, and rarely will you saw the game at three guitars also expanded.
We only blame the British, under cover of its intention to be generous, to still make too sometimes. This album is long, very long, and how long it borders indigestion. Several attentive listenings will not be too much to identify and appreciate the flavors. In 2015, iron virgin shines even when yet all its beautiful and did not fail; the group demonstrates as always, album after album, which can count on him.
If by chance he had to be a last hurray, which is far from certain, we have Bruce Dickinson himself admitted to be willing to continue to make albums with Iron Maiden, that is if the future allows, then it would be in this case a round of globally successful track, in any case performed with honor and sincerity.
E oxi kai “iron virgin” se parakalw dld google translator…:roll:
Δε φαίνεται και πολύ καλή η παραπάνω κριτική αν και γιαυτή ισχύουν τα ίδια όπως και για την αποθεωτική…δεν έχουν καμία σημασία