Senmayan

Thank you all for the comments! Tepes, you might like the album because it stands apart from Neurosis (even though there are some minimal points of contact), in addition to the fact that the tracks are not long, they are more direct and less sprawling, and there’s no trace of psychedelia. Of course, it’s not a band for the masses and not everyone can appreciate it.

thank you editors ;-)

Editors, could you correct the last sentence from "essere diretti" to "essere diretto"?

Lexus, the fact is that originality is not currently demanded from Iron Maiden. They were in the past, but they are no longer. The reality is that it’s cooler to take shots at Iron Maiden, who have contributed, above all, to the history of metal and from a certain angle also to the history of rock. There are other bands to be angry with, so yes, you’re a provocateur, Lexus! There were other ways to trash this album, but of course, a provocative and adolescent take is more appealing. You could have simply said that they are finished now. The story of originality is a tale told by those who know little about music and are unfamiliar with the band! How misguided, listening to Iron Maiden to find originality in new metal?

Lexus, you may be right, but your claim to eliminate iron from the global scene also means erasing their past, which is instead filled with excellent albums.

of course, walter was me ee

On Debaser, there is a conspiracy that every time an Iron Maiden album is released, there are at least 6 reviews if things go well.
Don’t say nonsense, okay, all those reviews can be annoying, but even more so are the useless and ignorant comments like those from Lexus (always present for the nonsense) and Dying Sun!

I'm going to be lengthy:
of the 80s albums by Rush, this is the one that raises the most doubts in me! While in the previous "Signals" and "Grace Under Pressure," the electronic shift was already underway, you could still hear distant echoes of prog (especially in Signals), and although there was massive use of keyboards, the guitar, especially in the solos, remained very inspired.
"Power Windows" is very captivating in its sounds, requiring multiple listens, but not everything convinces me; in short, it's a great work, but not the first masterpiece from Rush, perhaps due to its overly commercial and pop shift.
If "Big Money" excites me with its opening riff every time I listen, and "Grand Designs" (great instrumental taste) and the commercial yet engaging "Manhattan Project" are also excellent, "Marathon" (except for the solo part) has never appealed to me, due to a chorus that feels too much like pop. "Territories" is fun, with its nice funky riff, and the melodic "Emotion Detector" and "Middletown Dreams" (with a really nice lyric) are also lovely. The last track is very captivating, one of those songs that has a truly marked originality; I can appreciate it but not love it as a piece, and similarly with the album, it fascinates me a lot, but I realize it lacks the warmth and some brilliant insights that the previous albums had.
Rating 4-

pop like Duran Duran? Nah!

Great review, although I would give the album the highest score. Every song is a small masterpiece. Epic, engaging, and majestic is the chorus of "distant early warning," while the compelling reggae-like keyboard riffs of "afterimage" and the space-ska rhythm (I don't know how else to describe it) of "enemy within" capture your attention. The melody of "red sector A" surprises with every listen, just like the brief and beautiful solo in "between the wheels" or the atmosphere of "the body electric." Everything is perfect; I couldn't help but comment on almost every track. If prog music means music that progresses and experiments with new solutions, Rush fully embodies the meaning of this word!