The Final Frontier (2010)

It's the 16th of August 2010, finally, and finally, the beast has fucking been unleashed. The perennially popular Iron Maiden after four very long years have released what easily is the most anticipated album of the year. Not many of their peers, or for that matter almost any other metal act can hope to create such an air of expectation when they release a new album. And indeed, what an album it is. Well, in a way, The Final Frontier is also Maiden raising a gigantic middle finger to all those who doubted the band's relevance in recent years and passed them off as a nostalgia act. Start to stop, it's fucking hypnotic.


      The album has a very different sound from anything that comes out Maiden's discography thus far. Hell, it's nothing like anything you've ever heard before on any metal album then again. This certainly is their most adventurous album to date. Maiden manage not only to reinvent their sound radically but end up producing something truly revolutionary, truly extraordinary. The Final Frontier takes all the old concepts and notions of what traditional heavy metal can be and turns it on itself, breaks all the accepted rules and abandons all the norms. Which thankfully lends a sense of unpredictability to the album. Even though this might give the impression that Maiden have forsaken their classic sound and feel, on closer inspection it is obvious that at the heart of it The Final Frontier has somehow managed to very deeply imprint that trademark sound all over the album, imbibing their spirit in every track. So what they've basically done is bravely taken the Iron Maiden of the eighties and marched it straight into completely uncharted territories rather boldly. I've said it before and I'll say it again - the  highly revered Iron Maiden have made a career of defying the norm and continue to do it to this day. 


         The only unfortunate thing about this album is either you'll absolutely love and relish it or for some reason it just won't strike that magical chord with you. And there isn't a middle path here. If you're looking for songs with simple, sing-along choruses and easy-listening riffs then this just isn't the album for you. It's also not one of those albums that take time to grow on you, au contraire, it takes time for the listener to really appreciate the magnitude of what the band have accomplished here. Look deep enough, look beneath the surface and you will realize it's a mastery of music.


      Musically, the band explores new and novel themes which leads to a metamorphosis in their sound. The riffs are creative and fresh but like with any of their other albums feel very distinctly Maiden. The thing that is most impressive about this album are the instrumental passages and bridges in virtually every song. They just echo sheer fucking brilliance. Extensively progressive, the passages are something they've expanded in on from A Matter of Life and Death. And then there are the solos, those gorgeous, emotive solos that soar high above the clouds, and heavy as hell drumming that bludgeons every thing in its path. Dickinson, who doesn't seem to have aged in the slightest still manages to pull off those mind-numbing, inhuman banshee wails that none of his peers or even those a fraction of age can manage to, extremely bloody well. The faultless vocals are one among the many highlights of the album. And yes, Harris, good ol' Steve, brings back his not only his ruthless gallop but all those unbelievably melodic bass lines for us all to awe and gape at. Uh huh, Iron Maiden just fucking rock don't they. 


      Now on to the lyrical aspects of this album. As is usual with Maiden song themes that vary as widely as is possible. The whole album is a scathing commentary on war, adventure, death and all that has transpired between the last album and this one. It also draws heavily from mythology and sci-fi, favorites of the chief storytellers -  Harris and Dickinson.


     The first track, which goes without saying is as good a way as any of kicking off the album and does so brilliantly. Satellite 15... The Final Frontier sounds every bit as eerie, futuristic and space-like as is expected. And with this one, Iron Maiden finally have a great music video to go along with such great songs, a good thirty years after their very first release. Though the video and lyrics indicate that it's a story set somewhere in space, the song could also be about to the band's career - their 15th album, Satellite 15.. and other such references and allusions to the band throughout the lyrics. Beginning with a surreal, gravity-defying base riff, it opens with Nicko's tribal beats and goes on to have the three axe-men rev up their guitars sending shivers down your spine. The spectral, ghostly vocals only manage to darken the mood. And then, out of nowhere the track suddenly changes gears, leaving you dumbfounded, switching to a completely different, more straightforward style. And before you know it, two transfixing solos seemingly resurrected straight from the eighties are thrown at you. And with that great chorus section you know this one is going to be absolutely killer live.  


      Up next is the first single of the album, El Dorado. Right from that familiar gallop to the raw muscular riffs this one is a textbook Maiden song in a new avatar. Reminiscent of The Trooper, for the distinct gallop, wraith-like vocals, high energy solos and abrasive riffage, El Dorado should've been a runaway hit but is one of tracks the fans are divided about. The song according to Dickinson, is about how the recent recession was staring in the face before it actually happened. The song gets it's title from the story of El Dorado, and it's the obvious connection to the economic downturn ("..streets paved with gold..." to quote Bruce). It's fairly obvious that this was specifically built to send the massive concert crowd into a crazed frenzy, more so than any other track on this album.


       Beginning with a deceptively slow and long intro, Mother of Mercy blasts forward into a muscularly constructed, menacing riff that has Maiden written all over it and by that I don't mean it's boring or foreseeable but that its simply exceptional. The heaviest track on the album, this one seems to have shades of A Matter of Life and Death strewn in. Harris opts to go in for a slower yet no less intimidating gallop that suits the song. Nicko McBrain is like a fucking octopus, pounding anything and everything he finds to pulp. Murray stuns with another classic, speedy solo. The song talks of wars in a time before gunpowder and like any of their other war-songs is an instant classic. Dickinson bobbing between harsh baritones and nut-wrenching screams adds another dimension to the song. You just can not help but headbang when you listen to groove infested Mother of Mercy.   


      What follows is the epic ballad, Coming Home. One of the more sentimental tracks of the album, this one is about returning home after a long leave of absence, back to where your heart belongs, and in their case, the song has allegories of the band's fast paced lifestyle and tales of life on the road - with reference to the massive Somewhere Back in Time Tour. The song also has references to one of Dickinson's many passions - flying. Beautiful lyrics and songwriting come together to make Coming... another heady track. Dickinson imbues an enormous amount of emotion into this song without making it sound cheesy. Smith's classy solo only manages to makes the song more poignant.


     Coming in at the fifth position, The Alchemist is a more progressive take on the style from their first two albums with the rough, speedy, bass-driven riffs and thrashy rhythm sections. McBrain is the saving grace of the song, thundering all around his drum kit. Though its has nothing special to speak of per say, and is probably a disappointment going by the standards the previous songs have set so far, it's not all that a bad track. With the standard theme of fantasy and adventure it really is just another Maiden song.


      Nothing will prepare for what comes next. The Isle of Avalon will astonish you which ever way you look at it. The sheer number of emotions and feelings it evokes throughout its duration is simply disorienting. The lengthy, dark and yet delicate intro laden with unconventional melody, ghostly whispers and eerie bass unfurls into unquestionable majesty. The leads are strong and solid and at the same spew forth amazing amounts of melody. The unconventional time signatures take the passages to a whole new level. Dickinson's passionate vocals are almost ethereal and mystical. Janick Gers manages to conjure astral solos that touch the sky. The way in which all these elements are intricately laced together is indicative of band's telepathy. The poetic lyrics, which are rooted in Arthurian mythology, are delivered with unequaled zeal. Every second of the song is a moment of excellence. Isle of Avalon is no longer just a song and with Maiden trying yet again to elevate the scale of things beyond the usual, it becomes an almost surreal experience that will leave you begging for more. The grandeur and impressive manner in which they pull off the song is why they still reign in the world of heavy metal. Unequivocal Iron Maiden. Celestial, unearthly Heavy Metal. Period.


    On the same grand scale as the previous track is Starblind, one of the other great's of The Final Frontier. With possibly the best instrumental passages in the album, this track simply won't cease to amaze through it's entirety. The intense, textured, intricate feel that this song has is unmatched. A fierce, steadfast vocal attack do the amazing lyrics justice. The cohesion between the bass line and free flowing lead guitars is flawless. The breakdowns and bridges are executed with exceptional skill. The back and forth between the mellow riffs and the aggressive ones and bluesy leads just keep piling on reasons as to why this is such a splendid track. In direct competition with Isle of Avalon as the best track of the album, this song is among the best songs Maiden have put forth since Brave New World.


    The Talisman is another highly progressive, well composed track that for sure will turn some heads. The pulverizing drumming, alluring riffs and Dickinson in his characteristic story telling mode are stitched into the fabric of this song quite exquisitely. Again, with a misleading, slow intro this one blisters forth uncompromisingly. Though it may seem repetitive, it's all done to maintain the feel and flow of the song. The innovativeness, both in the drumming and instrumental passages of this song surely has to the highlight in this track. Unrelenting and epic. State of the art heavy metal if there were such a thing.


   The larger than life The Man Who Would be King like it's predecessors has a sluggish beginning which speeds up with unreasoned urgency in a surprisingly melodic way. The gloomy, harmonious riffs on occasion have a psychedelic tinge, something rather unusual in metal. The vocals are standard run of the mill stuff for Dickinson who thoroughly enjoys himself on this track. The breakdown leads to an oriental passage which has got to be the work of Dave Murray. The solos soar together before clashing into other reaching their crescendo. The bass drives almost all the passages and bridges, but does so subtly. On the whole the song has a disconcerting feel to it but somehow ends up being catchy.


    The grand finale to the over and hour long epic that has been The Final Frontier is with Where the Wild Wind Blows. The longest song of the album also is one of the most complexly structured ones. Harris shines in this track, be it as the songwriter or with the melodious bass. The grim, unsettling lyrics are matched with equally befitting music. Dense, thick riffs break out all of sudden and Dickinson narrates the heart rending story of a couple who kill themselves in what they think is a nuclear explosion. The story is based on Raymond Brigg's novel (When the Wind Blows). And again, all of the sudden the tempo deceptively slows down when suddenly magnificent multitude of solos erupt with each of the three guitarists playing a solo apiece. And then the song breaks in a military tempo akin Alexander The Great and sways back and forth till the solos are completed. Dickinson gets more and more operatic by the passing second. And finally the song marches back into its familiar, original riff. The song ends stunningly in the same chilling way it began. And with that ends one of the band's best efforts to date.


Overview :
What more can one say about the mighty Iron Maiden that already hasn't been said in one form or the other. And even though they've scaled through many peaks all over their career and have reached the zenith of heavy metal, the iconic Iron Maiden see the need to constantly reinvent not only themselves but in the process the entire genre, not something not many bands can or will achieve. A intense, complex experience , The Final Frontier redefines what can be done with heavy metal by the wizards of the art themselves. How the band is going to outdo themselves the next time around is to be seen. State of the art stuff from one of the greatest bands of our time. If indeed, this is their final album, their swansong so to speak, then it's a great way to sign off.


Genre : Heavy Metal


Track Listing : 

Title	Write(s)	Length
1."Satellite 15… The Final Frontier "	Harris, Smith	8:40
2."El Dorado "	Dickinson, Smith, Harris	6:49
3."Mother of Mercy "	Smith, Harris	5:20
4."Coming Home "	Dickinson, Harris, Smith	5:52
5."The Alchemist "	Gers, Harris, Dickinson	4:29
6."Isle of Avalon"	Harris, Smith	9:06
7."Starblind "	Dickinson, Harris, Smith	7:48
8.”The Talisman”	Gers, Harris	9:03
9."The Man Who Would Be King "	Murray, Smith	8:28
10."Where the Wild Wind Blows "	Steve Harris	10:59

Total Album Time : 76:34

Personnel/Contributors :

• Bruce Dickinson – Lead Vocals, Rhythm Guitar
• Dave Murray – Guitar
• Adrian Smith – Guitar, Backing vocals
• Janick Gers - Guitar
• Steve Harris – Bass, Backing Vocals
• Nicko McBrain – Drums, Percussion
• Kevin Shirley – Producer, Engineer
• Melvyn Grant – Illustration

Release Date : 16 August 2010

Recorded : Compass Point Studios, Nassau, 2010

Supporting Tour : The Final Frontier World Tour

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