A MATTER OF LIFE AND DEATH
- Thread starter Ivan
- Start date
Ivan
Active Member
ma zaaaaaaaaaaaaakon, ovo je već puno bolji intervju nego zadnji, a šta i da ga skrate na samo 6 minuta, po meni out of the silent planet nije puno izgubio skraćivanjem, ali i da ovaj singl ostane na 7 min ne bi imao ništa protiv,
btw sad smo dobili odgovor na to tko je benjamin
btw sad smo dobili odgovor na to tko je benjamin
Rainmaker_RI
Member
To je neki apostol 100% :?
Rafabaza.com has posted what for the first time could be a real review of the forthcoming A Matter of Life and Death album, set for release on 4 September in Europe and 5 September in the US. The original article is in Spanish but a full English text can be found here:
The album can be catagorized in many ways, but if any adjective describes it well that would be "risky". "A Matter Of Life And Death" is generally complex, slow as well as epic, with very long songs and a lot of instrumentals, generally of a progressive vein, that will be very intriging to musicphiles, but that can be rather exessive even boring to those looking for a good riff and raw power. Maiden's new release is a continuity as far as "Dance of Death" is concerned (even though it takes the new sound to a new level) with production similar to "Brave New World's", very kevinshirlyish, and with little, if any, remnants of production a la Martin Birch. In other words the catchier and faster parts of the album have an air of "Brave New World", though its instrumental and ambient section follow in the steps of (and take it even further) "Dance of Death", specially in its more theater-epic-experimental cuts like "Paschendale", principal refrence and closer to the new "A Matter of Life and Death.
To put it in perspective, it is not an album that will satisfy those that call for a return to the bands classic sound, a ["glance"?] to short and direct compositions. The only example of an easy-listening hit is "Different Worlds" (and maybe "The Pilgrim), which was slated to be the first single though finally "The Reincarnation of Benjamin Breeg" seems to be the chosen track (awaiting confirmation from EMI). As soon as we recieve concrete information from the label pertaining to the chosen single we will let you know.
"A Matter of Life and Death" will convince few people at a first listen, it could even be considered boring, but it has very good songs that allowing them to grow on you will end up pleasing old and new fans alike. It frequently uses the formula intro-passage, slow-verse, mid tempo-chorus, fast-passage, long instrumental y slow-chorus, fast-passage, slow-outro, but if listened to carefully it has many hidden treasures. In fact, putting aside the fact that I'm a die hard Maiden fan for a second, I'll venture to say that it is possible many will lose their patience before the last song.
IRON MAIDEN have been able to surprise me in a way I never thought they were capable of doing with the 72 minutes of "A Matter of Life and Death", not only because of their compositions (we even find a ballad with acustic guitars in the vein of "Journeyman", that is reminecent of the music of trobadors),but also for Bruce's voice, experimenting with his voice, surprising for its smooth and delicate tones. It is precisely in the songs where he contributed to the writing is where he plays with his vocal chords the most and where his musical details or noticed more than ever. Bruce's shadow is extended, and its prescence is very palpable in "A Matter of Life and Death".
Another detail is the great prescence of keyboards, used in the most atmospheric moments as well as acompanying certain choruses. It is also curious (and a shame in my opinion) to see that Dave Murry only participated in the writing of one of the best songs on the album, if not the best, "the Reincrnation of Benjamin Breeg". It is also interesting to note that the only song he wrote is susceptable to being chosen as the single, in my opinion, there should be more Murray in future releases (which surely there will be). If the band led by Steve Harris entered progressive waters with "Dance of Death", en "A Matter of Life and Death" they have charged head on into that territory. Without a doubt this album is as risky as its title anounces, a matter of life and death. It will be loved or hated, a see little room for middle ground or indifference, a must have for die-hard fans of the band , that have followed its evolution since the beginning and don't complain about "Dance of Death (or in general of their post-Birch sound). I already side with the "Love it" camp which I'll join once I'm amazed on future listens.
As far as the songs go, we can't coment on more than four in detail (that is why I've practically refrained from citing song titles in this pre-chronicle of the album). Here go the chosen few:
"Different Worlds": It really is a different world from the rest of the album, it is the key to the entrance to an album which it hardly represents. The motive for it being selected as album openner (and not one of the ones nominated to be singles) is clear, for it is the shortest track on "A Matter of Life and Death", just a little over four minutes, and it is the track that opens the album in fresher and more accessible way to the listener whether old or new. it is also simply the best choice for radio. Quick hit, of powerfull riffs and characteristic double guitars, "Different Worlds" has a sound and style that can be found in the catchier songs of "Brave New World". In fact, both structure and chorus are very reminecent of the song "Brave New World". It oddly presents a rather "happy" chorus, not common for Maiden, that contrasts with the more sober and greater portion of the album. Attention to Bruce Dickinson's voice, huge.
"The Longest Day": Epic, like most of th album, describes the landing at Normandy. It starts with the usual sound of galloping guitars,that along with a repetitive bass shrouded in an atmospheric air remembers the moments of tension prior to the attack. The landing seems succesful in a catchy chorus, which will surely be sung a lot live, where Bruce Dickinson is once more unsurpassable. Like in the rest of the album, the song makes room for a long intrumental section, with progressive touches and a melodic cut. A mid-tempo song and majestic.
"Out of the Shadows": Without a doubt Iron Maiden's song where Bruce Dickinson's influence is more notisable. He is the main writer on this track. It is decieving at firstk for it promises to be very heavy with clean riffs, but it ends up detouring into a balad, where we again discover a Dickinson of unedited registers, as a minimum in an album of the Beast. Bruce must feel very happy and proud that he was able to sneak in a track more in the vein of his solo work than what one would normally find on a Maiden album. Similar, very similar to "Tears of the Dragon". His experimental character is also noticeable, demonstrating great originality and again surprising in guitar play in which we have never heard the current trio (nor the duos before that), impressive as background on the final chorus of the song.
"the Reincarnation of Benjamin Breeg": Chosen (almost certainly, awaiting official confirmation from EMI) as the first single of the album, which, like I've said before, is the only song in which Dave Murray has taken part in the writing. With one of the most atmospheric and slow beginnings in the history of the band, "The Reincarnation of Benjamin Breeg" is a counterpoint of the darkest, decadent even, of the band with the most impressive riffs of the album. It is this contrast that gives magic to a song of perfect choruses, sensitive and that gives goosebumps.
A song that stands out for achieved ambience, an exceptional musical journey, captained by the pilot Bruce Dickinson and his vocal experimentations. Imagen a rollercoaster of incredible ups and downs, that in its mid sections passes through a dark tunnel slowing down almost to a halt only to speed up from 0 to 100 as soon as it reaches the light again. That would be the perfect metaphor to describe "The Reincarnation of Benjamin Breeg". In its more than 7 minutes thre is also room for mid tempos, galloping riffs and for the tradmark dual guitars in the instrumental interludes. In a later interview I'll complete the rest of the songs.
Even though the album deserves more than one listen to take it all in, my first impression is very positive, cheerful and I'm still surprised at the risk the band decided to take. Keep in mind that I'm the registered fan #14829 of Iron Maiden's Fan Club. After listening to the album the band made its way to the press room very calmly. The groups for the interviews were, since they couldn't be any other way, Bruce Dickinson by himself, Steve Harris by himself, Dave Murray and Adrian Smith together and to finsih up Janick Gers and Nicko McBrain. I had the privilege and pleasure to interview Steve, Dave and Adrian one on one. the content of said interviews will be published August 1st. Till then, Up The Irons!
Hector Prat
The album can be catagorized in many ways, but if any adjective describes it well that would be "risky". "A Matter Of Life And Death" is generally complex, slow as well as epic, with very long songs and a lot of instrumentals, generally of a progressive vein, that will be very intriging to musicphiles, but that can be rather exessive even boring to those looking for a good riff and raw power. Maiden's new release is a continuity as far as "Dance of Death" is concerned (even though it takes the new sound to a new level) with production similar to "Brave New World's", very kevinshirlyish, and with little, if any, remnants of production a la Martin Birch. In other words the catchier and faster parts of the album have an air of "Brave New World", though its instrumental and ambient section follow in the steps of (and take it even further) "Dance of Death", specially in its more theater-epic-experimental cuts like "Paschendale", principal refrence and closer to the new "A Matter of Life and Death.
To put it in perspective, it is not an album that will satisfy those that call for a return to the bands classic sound, a ["glance"?] to short and direct compositions. The only example of an easy-listening hit is "Different Worlds" (and maybe "The Pilgrim), which was slated to be the first single though finally "The Reincarnation of Benjamin Breeg" seems to be the chosen track (awaiting confirmation from EMI). As soon as we recieve concrete information from the label pertaining to the chosen single we will let you know.
"A Matter of Life and Death" will convince few people at a first listen, it could even be considered boring, but it has very good songs that allowing them to grow on you will end up pleasing old and new fans alike. It frequently uses the formula intro-passage, slow-verse, mid tempo-chorus, fast-passage, long instrumental y slow-chorus, fast-passage, slow-outro, but if listened to carefully it has many hidden treasures. In fact, putting aside the fact that I'm a die hard Maiden fan for a second, I'll venture to say that it is possible many will lose their patience before the last song.
IRON MAIDEN have been able to surprise me in a way I never thought they were capable of doing with the 72 minutes of "A Matter of Life and Death", not only because of their compositions (we even find a ballad with acustic guitars in the vein of "Journeyman", that is reminecent of the music of trobadors),but also for Bruce's voice, experimenting with his voice, surprising for its smooth and delicate tones. It is precisely in the songs where he contributed to the writing is where he plays with his vocal chords the most and where his musical details or noticed more than ever. Bruce's shadow is extended, and its prescence is very palpable in "A Matter of Life and Death".
Another detail is the great prescence of keyboards, used in the most atmospheric moments as well as acompanying certain choruses. It is also curious (and a shame in my opinion) to see that Dave Murry only participated in the writing of one of the best songs on the album, if not the best, "the Reincrnation of Benjamin Breeg". It is also interesting to note that the only song he wrote is susceptable to being chosen as the single, in my opinion, there should be more Murray in future releases (which surely there will be). If the band led by Steve Harris entered progressive waters with "Dance of Death", en "A Matter of Life and Death" they have charged head on into that territory. Without a doubt this album is as risky as its title anounces, a matter of life and death. It will be loved or hated, a see little room for middle ground or indifference, a must have for die-hard fans of the band , that have followed its evolution since the beginning and don't complain about "Dance of Death (or in general of their post-Birch sound). I already side with the "Love it" camp which I'll join once I'm amazed on future listens.
As far as the songs go, we can't coment on more than four in detail (that is why I've practically refrained from citing song titles in this pre-chronicle of the album). Here go the chosen few:
"Different Worlds": It really is a different world from the rest of the album, it is the key to the entrance to an album which it hardly represents. The motive for it being selected as album openner (and not one of the ones nominated to be singles) is clear, for it is the shortest track on "A Matter of Life and Death", just a little over four minutes, and it is the track that opens the album in fresher and more accessible way to the listener whether old or new. it is also simply the best choice for radio. Quick hit, of powerfull riffs and characteristic double guitars, "Different Worlds" has a sound and style that can be found in the catchier songs of "Brave New World". In fact, both structure and chorus are very reminecent of the song "Brave New World". It oddly presents a rather "happy" chorus, not common for Maiden, that contrasts with the more sober and greater portion of the album. Attention to Bruce Dickinson's voice, huge.
"The Longest Day": Epic, like most of th album, describes the landing at Normandy. It starts with the usual sound of galloping guitars,that along with a repetitive bass shrouded in an atmospheric air remembers the moments of tension prior to the attack. The landing seems succesful in a catchy chorus, which will surely be sung a lot live, where Bruce Dickinson is once more unsurpassable. Like in the rest of the album, the song makes room for a long intrumental section, with progressive touches and a melodic cut. A mid-tempo song and majestic.
"Out of the Shadows": Without a doubt Iron Maiden's song where Bruce Dickinson's influence is more notisable. He is the main writer on this track. It is decieving at firstk for it promises to be very heavy with clean riffs, but it ends up detouring into a balad, where we again discover a Dickinson of unedited registers, as a minimum in an album of the Beast. Bruce must feel very happy and proud that he was able to sneak in a track more in the vein of his solo work than what one would normally find on a Maiden album. Similar, very similar to "Tears of the Dragon". His experimental character is also noticeable, demonstrating great originality and again surprising in guitar play in which we have never heard the current trio (nor the duos before that), impressive as background on the final chorus of the song.
"the Reincarnation of Benjamin Breeg": Chosen (almost certainly, awaiting official confirmation from EMI) as the first single of the album, which, like I've said before, is the only song in which Dave Murray has taken part in the writing. With one of the most atmospheric and slow beginnings in the history of the band, "The Reincarnation of Benjamin Breeg" is a counterpoint of the darkest, decadent even, of the band with the most impressive riffs of the album. It is this contrast that gives magic to a song of perfect choruses, sensitive and that gives goosebumps.
A song that stands out for achieved ambience, an exceptional musical journey, captained by the pilot Bruce Dickinson and his vocal experimentations. Imagen a rollercoaster of incredible ups and downs, that in its mid sections passes through a dark tunnel slowing down almost to a halt only to speed up from 0 to 100 as soon as it reaches the light again. That would be the perfect metaphor to describe "The Reincarnation of Benjamin Breeg". In its more than 7 minutes thre is also room for mid tempos, galloping riffs and for the tradmark dual guitars in the instrumental interludes. In a later interview I'll complete the rest of the songs.
Even though the album deserves more than one listen to take it all in, my first impression is very positive, cheerful and I'm still surprised at the risk the band decided to take. Keep in mind that I'm the registered fan #14829 of Iron Maiden's Fan Club. After listening to the album the band made its way to the press room very calmly. The groups for the interviews were, since they couldn't be any other way, Bruce Dickinson by himself, Steve Harris by himself, Dave Murray and Adrian Smith together and to finsih up Janick Gers and Nicko McBrain. I had the privilege and pleasure to interview Steve, Dave and Adrian one on one. the content of said interviews will be published August 1st. Till then, Up The Irons!
Hector Prat
Scream for me said:
www.maidenfans.com
jos jedna vijest:
Thanks to our friends at Bravewords, here's a longer transcript of the Maiden coverage by Kerrang.
The single titled 'The Reincarnation Of Benjamin Breeg' will be released in mid-August.
Read the full news below. It includes a few track descriptions by the band itself. (click on 'Keep Reading')
IRON MAIDEN's BRUCE DICKINSON: "At The Moment We're Thing About Playing The Whole Album (A Matter Of Life And Death) Live, Back-To-Back"; ‘The Reincarnation Of Benjamin Breeg’ Single Out In Mid-August
Posted on Thursday, June 29, 2006 at 11:37:44
IRON MAIDEN will release their 14th studio album in September via EMI and Kerrang!/BW&BK scribe Dom Lawson was among the first to hear the new material.
Titled A Matter Of Life And Death, the album was recorded at Sarm West Studios in London with producer Kevin Shirley, who also worked on the last two Maiden albums, 2000’s Brave New World and 2003’s Dance Of Death.
Clocking in at a colossal 72 minutes, the album boasts ten tracks, all but three of which are over 6 minutes in length. The album will be preceded by a single, ‘The Reincarnation Of Benjamin Breeg’, which will be released in mid August.
Dom reports that this is easily the strongest album Iron Maiden have produced since their ‘80s heyday. It is also by far the heaviest thing the band have ever recorded. Full of experimentation and unexpected detours into intense and atmospheric territory, it’s a complex and powerful set of songs that touch upon some dark subjects, most notably the horrors of war, the impact of religious fundamentalism and the threat of nuclear destruction.
The full tracklisting for A Matter Of Life And Death is as follows: ‘Different World’, ‘These Colours Don’t Run’, ‘Brighter Than A Thousand Suns’, ‘The Pilgrim’, ‘The Longest Day’, ‘Out Of The Shadows’, ‘The Reincarnation Of Benjamin Breeg’, ‘For The Greater Good Of God’, ‘Lord Of Light’, ‘The Legacy’.
Dom spoke to frontman Bruce Dickinson and bassist/founder member Steve Harris about the new songs and how Iron Maiden have special plans
for their forthcoming European tour that kicks off on November 9th in Denmark and hits the UK in December.
“At the moment we’re thinking about playing the whole album live, back-to-back,” Dickinson reveals. “When you’ve got an album this good, it’s really important that you do something bold. If we can go out and do a whole album of brand new material, I think that we can give ourselves a pat on the back. Everyone will have heard the album upfront, and the songs will really come to life. I think it could be extraordinary.”
“Brave New World and Dance Of Death were both good records,” he continues. “But they weren’t anywhere near as good as this one! This one is Dance Of Death without the effort. This whole album feels effortless. It’s like driving a big gas-guzzling motor car. You just put your foot down and there’s limitless power under the bonnet.”
“Yeah, it’s been unbelievable,” agrees Steve Harris. “We booked the studio for three months, and we finished the whole thing in two! I think the preparation was good. We didn’t have the rows we usually have! (laughs) We really focused on each song and it was a very positive experience.”
Among the highlights of the new album are the opening track, ‘Different World’. The shortest song on the album at a mere four minutes, it’s a
classic, storming Maiden opener with an instantly memorable chorus and soaring guitar harmonies.
“It wasn’t intentional when we sat down and wrote it, but as soon as it was finished we thought ‘Thin Lizzy!’” laughs Steve Harris. “It’s a tribute to them, in a way. Obviously it sounds like Maiden, but it just conjured up that Thin Lizzy vibe.”
The second track on the album, ‘These Colours Don’t Run’, is a brooding, dramatic rumination on the plight of being a soldier in a war zone and
sets the tone for the dark epics that follow it.
“That song was an effort to put a human face on people who go out and fight wars,” says Dickinson. “They call it ‘peacekeeping’, but these people put themselves in harm’s way, and whether or not you agree with the reasons why they’re doing it, they’re just doing their job. Some of the new songs are quite angry. It’s just the times we’re living in. We’ve got global fundamentalism, state-sponsored terrorism, dirty bombs, global warming and everything else. I think this is our response to all of that.”
‘Brighter Than A Thousand Suns’ is arguably the heaviest track on the new album, and one with heavy subject matter to match.
“It’s about the atomic bomb,” says Dickinson. “The scientist that saw the first bomb go off said it was brighter than a thousand suns. The idea that human beings could bring about their own total destruction totally changed the way people thought.”
Finally, the first single from the new album, ‘The Reincarnation Of Benjamin Breeg’, is an intricate seven-minute epic that starts with a creepy, ominous intro before erupting into a crushing, almost Led Zeppelin-esque riff and a powerful, emotive chorus. More obtuse lyrically than most of the album, it’s a curious, challenging choice for a single.
“It’s very different for us,” admits Harris. “It’s very riffy. The intro has an almost nursery rhyme eeriness. Sometimes you try to create a mood and sometimes it’s just <>. Everyone’s going to ask who Benjamin Breeg is, but you’ll just have to find out for yourself!”
Understandably, Steve Harris is extremely proud of the new record, particularly since it seems likely to be hailed as one of Maiden’s best. The band are currently as popular as they’ve ever been, so does he think Maiden can keep going indefinitely?
“Five years ago we were thinking about possibly retiring at this point, but now we’re at this stage there’s no way! Why should we?” he grins. “I don’t know why, but I always had it in my head that we’d do fifteen studio albums, so we’ve got at least one more to go!”
(Thanks: Kerrang!)