I’ve been a big fan of Nightwish for quite some time so I was a little worried when I heard they had gotten a new lead singer. I decided to listen to the album on iTunes before buying it at a store here and I’m glad I did. While the new lead singer has a good voice, she just doesn’t match what they had before. The style has changed enough that it doesn’t feel as fantastical as Nightwish’s music used to. While I won’t say this is a horrible album that isn’t worth buying I WILL say that you should preview it before buying it, don’t rely on your love of the old Nightwish, because you may be surprise…and not in the best way possible.
Metal Album Reviews[RSS]
This is a very special album, for those who can take it that is…I wasn’t sure what to expect but judging form the picture of the artists online it was going to be quite a ride! I loved all the songs and the marriage of orchestra with hard metal and some make believe dialogue that made me feel as if I was watching a raunchy version of Lord of the Rings.
I cant recommend this album enough for those who think that symphonic power metal is delish, I am such a person. It’s also a funny coincidence how so many bizarre and cool at the same time musicians emerge from Finland, it’s quite a place for creative existence.
Poet and The Pendulum is glorious, starting off as an eerie fairly tale reminiscent of movies such as “The Company of Wolves” which is a dark take on the Little Red Ridinghood story as one can literally hear snow falling and soft whispers reeling in the bait, followed by something dark brooding nearby by. That is taken over by a glorious army of guitars wrenching the listener from make believe onto a battlefield of sound and energy. The latter part of the song reminded me of one of my favorite fantasy movies “Kull the Conqueror” which is a glorious marriage of orchestra and metal. The vocals are sweet and powerful which makes the sound glisten like a blade of an ax ready to strike imaginary forces. The song is loud and long with many different dynamics and themes, changing from a sad cello to a mosh pit showdown.
7 Days to the Wolves is another fantastic piece, it’s different I know, so different in fact that people can have a hard time understanding it but I can blast it of as loud as my poor ears can take it and it even makes me walk faster if I’m listening to it on my ipod. There’s no way that I can listen to it and not feel like I’m in a different universe. The guitars here are pure pleasure and give the song a movie like feel, for someone who loves soundtracks this one tasty morsel. The violin in this one song, about half way thought almost made me cry when it clashed with the guitar not to mention the vocals on top, oh man…good stuff.
The best part of this album is the crazy mix of sounds, from war ballet to battle music and ballads with an edge this is one cool piece of music. Honestly I love all the music on it but the two pieces I dissected a bit are my favorite, even my dad likes Nightwish, but hey he’s a cool dude who is into martial arts and all this funky movie stuff, so it makes sense! For all the picky critics out there, go ahead, rip it apart but it only matters how each person perceives it, I don’t want everyone to like this, it will make it common and washed out, I respect Nightwish for creating what they like to hear and I am proud to admit that I love all their creations. The effort and creativity breathe in this album, the full chorus and what I am imagining to be a huge string section adds seductiveness and fairy tale like charm that stands out, add a little heavy metal and presto, a winner!
Happy listening, don’t forget your battle ax…
- Kasia S.
If you have seen the DVD “End of Innocence” Toumas talks about how the concept and sound of the Band changed once they first heard Tarja Sing the songs they had started to write in the Beginning. He stated he voice was “Too Bombastic” for the softer celtic/folk direction they had planned, so they had to beef everything up and and alot more dynamics to the Songs to compliment her Voice. Well this CD “Dark Passion Play” is just that, very Dark and Passonate -but also VERY Heavy & Powerful! But the the problem is Annette has a very tradional sounding Voice,which sound beautiful in the softer sections of the Songs with just Key’s and Orchestrations, but once the Guitars, Bass, and Drums kick in to high gear, the poor Lady gets buried alot of the times. I know alot of this could have been corrected in the mix and mastering done on the CD, but to me the bottom line is I think the band and songs on this CD are just to heavy to compliment her Voice. She doesn’t have the natual projection and range that an Opera Singer has to project over just about anything, so they should have come down to her level, or chose a Vocalist that had the power to rise to that level. I’m not knocking Annette’s ability, I just don’t think she was a good choice if Tuomas wanted to continue with the dynamic classical/metal direction of the band and not go more mainstream with the Music to better suit her Voice.
I want to start by saying that I’m not a huge Tarja fan. She’s talented enough, but for my money there are plenty of other female vocalists out there who are as good if not better than the ousted diva. It’s a shame Nightwish couldn’t have picked one of them to be their new vocalist after their much publicized split with Tarja. When you have what is arguably the biggest female fronted metal band in the world, you should have your pick of great singers. I’m stunned that Annette Olzon is the best they could come up with. I’m sure she’s a perfectly lovely person, and I could care less that she doesn’t do the whole operatic thing (which can get on my nerves after a while), but the sad fact is she’s just not suited for this type of music and is way out of her league here. If Lullacry needs a new singer, I’m sure she’d be a great replacement, but this is Nightwish, people!
What makes this even more of a shame is that musically Dark Passion Play is probably the absolute best album the band has written. I was impressed with Once, but the songwriting and symphonic arrangements on this album are simply awe-inspiring. This is epic metal on par with Therion. With any other vocalist – Tarja, Floor from After Forever, Simone from Epica – this would have been Nightwish’s greatest achievement. Even a male singer would have worked (seriously, imagine this album with Evergrey’s Tom Englund at the mic). Instead, it just seems like a missed opportunity.
Musically, Dark Passion Play rates 5 stars easily. The vocals deserve 2 stars. I tried to give Annette a fair try, but her voice is just not right here. I think I’m going to have to trade this one in for the “collector’s edition” that comes with a bonus disc featuring an instrumental version of the album. That should be a lot easier to tolerate.
One last thing, the songs aimed at Tarja and her husband are just plain petty. I know the split wasn’t amicable, but there are umpteen press releases and interviews that make that plain. Your dirty laundry has no business on the album though.
“The end, the songwriter’s dead…” begins the first track of the album. Despite the presentation of these chilling words, they are far from the truth concerning Dark Passion Play and Nightwish. Nightwish, replaced former vocalist Tarja Turunen with Anette Olzon, have released their sixth studio album and the first in three years. As the thousands of Nightwish fans groaned when Tarja was fired, we all wondered whether the new vocalist could fill Tarja’s shoes and if Nightwish could live up to what it had become, one of the world’s best symphonic metal albums fronted by one of the best female metal vocalists.
Well most of the jury is still out, but this one says there is absolutely nothing to worry about; Dark Passion Play is my new favorite Nightwish album. Oceanborn and Once were my favorites before, but no longer. And astonishingly enough, one of the reasons may in fact be the vocals. So really there are three reasons why I enjoy DPP more than all of the other Nightwish albums: Anette Olzon, more epic, and the Poet and the Pendulum.
Beginning with Anette. Anette is…not Tarja. For me, in a very good way (though I will concede that many will take this in a very negative way). She is a completely different vocalist and I look forward to hearing her sing the old songs live. For one, she is an alto rather than a soprano, uses very little vibrato, and sounds like a rock singer rather than an operatic vocalist. That is not to say I don’t like the operatic vocals that Tarja utilized so admirably–far from it, as groups like Epica are still among my favorites and Tarja is one of the greatest female metal vocalists of all time. Perhaps one of the reasons I like Anette so much is that she is a change from the operatic-soprano vocals that are very often found in symphonic and gothic metal bands (which I listen to a lot of). Her voice, I find, is much better at conveying emotion than Tarja’s was (again, personal preference). Ultimately, each person will decide on the vocals and that will make or break the album for them because really, the rest of the band has not changed unexpectedly. The band continues on the deviation that began with Century Child from the symphonic metal “standard” that they set with Oceanborn. Each album has grown steadily more progressive and DPP is no exception.
More epic…My favorite Nightwish songs have been pieces like Ghost Love Score, Beauty of the Beast, Creek Mary’s Blood, and Dead Boy’s Poem. For the same reason I like groups like Rhapsody of Fire, I love songs like these for the epic feel. With Once and the addition of a full, large-scale orchestra and choir as an everpresent force, the epic feel has grown larger and larger. The album has five tracks that are nearly six minutes long, it starts and ends with two massive works, and the most epic-feeling song ever written by Nightwish is in this album in the form of The Poet and the Pendulum.
My track-by-track analysis of the album:
1) The Poet and the Pendulum: Reason 3 for why DPP is the best of the Nightwish albums. 14 minutes of London Session Orchestra + Anette + Nightwish + Full Choir + A Boy Soprano (or two). I could write a whole review/analysis on this song alone, but since it’s part of an album, I cannot. As the longest ever written and the Tuomas’ favorite, the song is divided into five parts, changes pace many times, and includes basically everything you could imagine could fit into a song. It begins with the wailing vocals of a boy soprano, reading off an obituary of “the songwriter.” The tension already present in this introduction suddenly bursts when the full orchestra explodes into action, followed shortly by the heavy metal guitars of the rest of the band. It subsides a bit when Anette begins the first verse, singing from what sounds like Tuomas’ perspective. With the powerful, awe-inspiring chorus, the orchestra, choir, and band erupt once again. Part two continues in this way, bombastic and epic until it truly subsides into the same feel the introduction had with the boy soprano returning. When Anette joins in, it is clear that the soprano vocals of Tarja are gone with Anette singing in a lower octave. Then the brass sounds and ominous words are whispered loudly before switching gears immediately into Marco howling. Anette returns, however, and the chorus is played for the last time before Tuomas’ obituary is completed. The fifth part is truly beautiful, sounding almost like a whole new song (almost three minutes long) and all traces of the violence and power played previously are gone. The lyrics are for all intents and purposes Tuomas writing his death (and resurrection in part five) into a song. They are profound and powerful and though, obviously, he is not dead, he was feeling immense sadness and was heavily weighed down as he wrote the album. This is truly the heart and soul of DPP and is one of my favorite Nightwish songs ever written. 10/10
2) Bye Bye Beautiful: Bye Bye Beautiful is, as many would guess, a musical farewell to Tarja. It is not an offensive or hate-filled farewell but is more of a sad and bittersweet farewell. For Tuomas, it was a song that “needed to be done” and he says it sounds much more aggressive than the meaning behind it actually is. There are many references to the grievances that the band listed in the open letter that announced Tarja’s firing. Musically, it is an aggressive track with Anette singing the verses and Marco singing the powerful chorus. It feels completely different from The Poet and the Pendulum, but knowing what had happened to the band, it does not come unexpected. 8.5/10
3) Amaranth: Amaranth itself is, as Tuomas and the band have said, very catchy and has a nearly-pop-sounding chorus, very much an ideal song for a single. Anette is the sole vocalist on the track and most of her vocals are accompanied with a strong drumbeat with the orchestra playing lightly in the background for most of the song. The chorus is basically the song, very catchy with Anette’s vocals layered on top of each other for a very nice-sounding harmony. A fun song, much lighter than the two previous songs and is much more easily accessible than the rest of DPP. 9/10
4) Cadence of Her Last Breath: One of Anette’s favorite songs (and one of Tuomas’ least favorite), Cadence begins with burdened breathing, soon followed by guitar riffs and keyboards. For me, Cadence’s verses and development are very powerful and there is a short, but sweet guitar solo, but the chorus never really did it for me, almost as though it went away from the phrases that get built up by the verses. Anette sings this song with Marco shouting “Run away” in the chorus. 8/10
5) Master Passion Greed: The hardest song Nightwish has ever written is about the other half of Tarja’s dismissal, her husband Marcelo Cabuli. Unlike Bye Bye Beautiful, this is not a bittersweet song, but a bitter song since the band believes the business-first attitude of Marcelo is what brought about the break between Tarja and the rest of the band. It is sung entirely by Marco (who also shares writing credits) and there is a good amount of screaming, thrash guitar, and growling (by Tuomas?). One of the longer songs and much heavier than anything ever done before by Nightwish, it is an interesting song that, like Bye Bye Beautiful, does not come unexpected and is a definite change of pace. 8.5/10
6) Eva: The first single released from DPP and the first song released featuring Anette’s vocals, it is also the first ballad on the album. It is a beautiful and primarily orchestral piece. The lyrics are something to note as well. They are exquisite and very well-written, even for Tuomas’s work. Mix in a strong guitar solo and backing vocals by a gospel choir (which will be heard much more later) and you get a very solid ballad. 9/10
7) Sahara: Sahara is a breakaway piece written with an exotic African/Egyptian sound. A bit reminiscent of Creek Mary’s Blood from Once, it is a diverse track, utilizing Anette’s vocals in many different ways. The riffs are heavy and the orchestra and choir play a major role as well. It is an epic and powerful song and is another change of pace from the rest of the album. It is one of my favorites from the album. 10/10
Whoever Brings the Night: Written by Emppu (lyrics by Tuomas), this very much sounds like a guitarist’s song. The intro kicks in with heavy guitars, the riffs are dominant and powerful, and there is a lengthy guitar solo. The vocals are much less pronounced and the vocals speak of deceptive love and falsehood. Not one of my favorites, but it adds to the diversity of the overall album. 8.5/10
9) For the Heart I Once Had: A sad and mournful song, Anette’s vocals are the feature of this song. At times it seems that the notes of the song are at the edge of her range, but she carries the song admirably. She puts a huge amount of emotion into her voice for this piece, which would otherwise be a bit flat. 8.5/10
10) The Islander: Yet another change of pace. A Celtic ballad written by Marco and sung primarily by him, the Islander is all very folkish and serene. Sung very much like something out of Ireland, it is a well-written piece and very different from the rest of the album so far. There are a wide variety of instruments, from bodhran drums to flutes to fiddles to uileann pipes. 9/10
11) Last of the Wilds: The only all-instrumental piece on the album, Last of the Wilds is a treat to the ears. It is basically a duel between Finnish and Celtic instruments joined in by the electric guitars and drums of the band. It is an awesome piece with instruments diverging everywhere from the main melody. It resembles a jam session I participated in not long ago, mixing many different kinds of instruments and improvising in many different directions. An excellent piece. 10/10
12) 7 Days to the Wolves: Inspired by a Stephen King novel, 7 Days to the Wolves seems to be somewhat of Beauty of the Beast’s successor. Starting out with some simple drumbeats and string parts, it launches into a dark and heavy verse and chorus. There is a long instrumental section heavily reminiscent of part of Bless the Child that builds up to one of the most powerful and aggressive vocal lines Anette sings on the whole album. It’s a lengthy, 7-minute song with a good bit of power behind it. 9/10.
13) Meadows of Heaven: The grand finale of the album, it comes with a gospel choir (that was allowed to sing “heaven” in as many ways as they liked but nothing relating to Christianity) in tow. The ending of this song is simply breathtaking. It is difficult to describe (funny considering how much I went off on the Poet and the Pendulum). A very powerful and emotional finish and an excellent conclusion to the album. 10/10
Concluding Remarks: For those who doubted Nightwish’s ability to come out with something new that could match their old material, DPP proves them wrong. Then again there always are those who will put down this album regardless. As a hardcore Nightwish fan, I had very high standards when I began listening but they were all met. Anette is a great vocalist and Nightwish is as good as ever. Recommended for all metal fans.