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The Iron Maiden becomes epic, warlike, combative, but its intense and emotional pathos, which has always been a bit of its hallmark, remains unchanged. A notch above the others is the underrated instrumental Losfer Words (Big 'Orra) and the gripping Two Minutes To Midnight, and especially The Rime Of Ancient Mariner: a gem experienced individually, an incredible journey for those familiar with the poem by the Romantic author Samuel Taylor Coleridge (Chilling when Bruce fervently declares: “Water, water, everywhere!”).
Nevertheless, I still prefer the bloodied The Number Of The Beast, an absolute masterpiece, even though Powerslave is clearly superior to Dance of Death and especially to Killers, which I find definitely overrated to the extreme and immature to the point of being implausible.

The Iron Maiden becomes epic, warlike, combative, but its intense and emotional pathos, which has always been somewhat its trademark, remains unchanged. A notch above the others is the underrated instrumental "Losfer Words (Big 'Orra)" and the gripping "Two Minutes To Midnight," and especially "The Rime Of Ancient Mariner": a gem to be listened to individually, an incredible experience for those who know the poem by the Romantic author Samuel Taylor Coleridge (It's chilling when Bruce passionately proclaims: “Water, water, everywhere!”).
Despite this, I continue to prefer the bloodthirsty "The Number Of The Beast," an absolute masterpiece, even though "Powerslave" is clearly superior to "Dance of Death" and especially to "Killers," which I find undoubtedly overrated to an excessive degree and immature to the point of being unbelievable.

Finally, I’ve listened to and absorbed “My Winter Storm.” I agree with everyone who considered it a release free from any expectations; in fact, I expected less than nothing from this work. Instead, I must change my mind because MWS is a convincing platter despite its limitations, although it cannot boast the substance and conviction of the works branded Nightwish. Everything is meticulously crafted, leaving nothing to chance. At times, it seems too plastic and artificial, skirting the genuineness of the music itself, wanting at times to be a blend of the most popular sounds in the more symphonic and melodic metal sphere. (Various influences: from Epica to Kamelot, all the way to the much-loved - hated Evanescence.) This is the only major flaw of the platter, which otherwise always operates at consistent and decent levels. I don’t share the many criticisms aimed at Tarja's voice: for me, it was a pleasure to rediscover the great throat of Nightwish, which doesn’t change its style except for some experiments of its own. A notch above the high "Lost Northern Star."

There is a stark difference between a theatrical play and chamber music. While the former aims to astonish the listener with virtuosic baroque flourishes, commendable dramatic bursts, and uniquely captivating lyrics, the latter possesses a different nature: “Shadows Of The Sun” is a classic example of the second type and is completely distant from the approach filled with exalted virtuosity of the theater. Far from the stage lights. Far from any kind of protagonism, seeking a more indirect form of communication: almost on tiptoes, emotions loom above us. The true protagonist is death, a symbol of eternal nothingness. A slow, relentless, silent, cold death that can only lead to the last choked lament: The cosmic void, with no possibility of absolution. A slow and minimalist funeral march that scorns cinematic and bloody death, but suffocated in its strange and disturbing beauty.

I'll listen to it tonight. I can't wait.

beautiful! Being a fan of the avantgarde, I will listen to them.

Great review, I also hope to make up for it soon...

the review is indeed inconclusive. As for THE ALBUM, I HAVE ONLY LISTENED to the first single (my winter storm) and I really appreciated it thanks to its atmospheres.

I agree with those who say to wait for the CD...