Studio report - The shocker?

People who believe to be able to estimate Nightwish’s music for one hundred percent after their previous four records should prepare themselves for a surprise. The new work ‘Once’ (release: 7th of June) confuses the picture of this band – Native American vocals, Middle Eastern sounds and electronic beats await the listener. Keyboarder and songwriter Tuomas Holopainen looks for the open provocation with the fan community.

A small murmur sounds through the Loose Club in Helsinki, the eyes of the journalists search each other. ‘Once’ has just rushed along their ears – and it offers a few important changes compared to the last work ‘Century Child’ (2002). Instead of insisting on the reliable formula for success band boss Tuomas Holopainen took out the iron tool and added new elements to his sound. Apart from a heavier guitar sound complex, almost progressive song structures and the new relation of power between the rock instruments and the orchestra belong to the new stuff – horns, strings and harps force their way to the front as much that you feel reminded of ‘S & M’ by Metallica. “But the songs from Metallica haven’t been composed for an orchestra”, Tuomas explains the difference to the new Nightwish material. “For ‘Once’ I planned right from the beginning to put the classical elements more into the front – that is why you can find them on nine tracks and why they are of the same importance as guitar, drums and vocals.”
The orchestral parts were recorded in the Phoenix Studios in London (a part of the ‘Lord of the rings’ music was also developed in here) conducted by Pip Williams who already worked together with Uriah Heep and Status Quo and who took part in several rock-, soul- and soundtrack-projects. “They recorded everything in only two days – without any problems”, Tuomas is still enthusiastic about the musicality of the people involved. “They played everything right from their sheets, unbelievable… God damn, these are the best musicians in the world! Finally we have some quality on one of our records”, the songwriter jokes with a wink. He took care of the basic structures of the songs once more and worked them out together with front woman Tarja, bassist/ singer Marco, guitar player Emppu and drummer Jukka. For five months the band worked on the songs under Tuomas’ guidance in the band’s hometown Kitee and in the Finnvox Studios in Helsinki. “That means eight weeks longer than normally”, the slender Finn groans. “It was the most difficult album that have we recorded so far– but still I never had such a good feeling. This time the tracks haven’t been composed only on the piano but also on the guitar. That is why the riffs are heavier.”
And more extreme – one song will give the Nightwish community a real headache: ‘Wish I Had An Angel’, an ‘electronic shocker’ which style is out of the ordinary completely because of its computer beats and the Rammstein-riff in the chorus. “I can imagine that 50 percent of our fans will hate this song”, Tuomas grins almost satisfied. “Against it the band agrees that this belongs to the best stuff that we have ever written – that is why ‘Wish I Had An Angel’ is going to be our second single. Rammstein are one of my favourite bands. I want to break a few boarders open for Nightwish because I do not like it when the fans commit us too much to a certain style.” Out of the same motivation ‘The Siren’ and ‘Creek Mary’s Blood’ were composed as well. While the first song surprises with its oriental influences, ‘Creek Mary’s Blood’ presents the Native American musician John Two-Hawks from the tribe of the Lakota. “I always had a strange fascination for the Indian culture and their spirituality. In the song John Two-Hawks recites a poem which is written by me for the honour of his forefathers – I do not understand a word of what he says but my trust in his ability to put it into action is big”, he laughs.
Like on the successor bassist Marco Hietala gets the possibility to present his rock voice on a few tracks. “People might expect me to include this change between man and woman at the microphone even more often but that is a quite small rank”, Tuomas explains. “On this album Marco sings some solo parts for the songs and backing vocals for five songs. That is enough – I didn’t want to wear that out. In contrast to ‘Century Child’ which had a concept of overriding importance each song on ‘Once’ should have a nature of its own. So you can find that many different elements on the new album. It was fun to write eleven short stories – in the end ‘Once’ sounds more like a soundtrack than like metal.”


The songs of ‘Once’:

‘Dark Chest Of Wonders’
Already the first Metal riff makes clear: The guitars are heavier than they were an all previous Nightwish albums. A straight forward song for which Tarja sings relatively deep and competes with female choirs. After a break she reaches operatic heights; bombastic orchestra sets in.

‘Wish I Had An Angel’
The division-point of the album. Right at the beginning you get the electronic beat, afterwards drummer Jukka takes over again. The chorus which is sung by Marco represents the unhidden bow to Rammstein. You can hear classic NDH-Riffs and march rhythm. In the end the song increases with a lot of choir parts and powerful classical arrangements.

‘Nemo’
The first single. A playful piano intro that turns into a straight rhythm. A melody full of feeling by Tarja which leads to a loose, playful chorus. ‘Nemo’ does without complexity – single formula that is. In the middle part quite epic followed by a nice solo. Reminds you of HIM...

‘Planet Hell’
The operatic beginning with male and female choirs gives some soundtrack feeling. The entering riff is pure metal and could also come from Manowar. Marco and Tarja share the vocal parts; both are accompanied by powerful classical parts and so they are effective. Some kind of ‘Nightwish Mucial’!

‘Creek Mary’s Blood’
From the land of the thousand lakes to the US-prairie. With the support of the Native American John Two-Hawks flutes, acoustic guitars, keyboard lines full of feeling and of course Tarja’s voice sound. Actually the only thing missing is Kevin Costner on the back of a nag… The entering drums finally make the song a typical rock-ballad which is finished with mumbled Indian verses.

‘The Siren’
From the wigwam into the Orient Express-train. Violins fight against a powerful riff which turns into a dragging rhythm. Tarja adds some oriental elements to her singing which are taken over by the guitar later on. A nice contrast to the rest of the songs because of the Middle Eastern atmosphere.

‘Dead Gardens’
The riff at the beginning reminds you a bit of Pantera to his ‘Cowboys from hell’- times but during the rest of the song it leaves the stage to Tarja. A classic Nightwish tune apart from the returning grooving guitar part that also closes the song.

‘Romanticide’
Metallica groove at the beginning; rhythm and riffs are almost Speed Metal like later on. The chorus of the song is more dragging before the instrumental part with skilfully worked in classic-arrangements starts. Again changing vocals between Tarja and Marco.

‘Ghost Love Score’
Drums against female choirs and horns. Again a dominantly produced orchestra. A half ballad that allows some harp playing as well – so everything sounds really full of feeling (kitschy?). In the end almost symphonic Hollywood bombast which could have lasted a bit shorter.

‘Kuolema Teeke Taiteilijan’
The only song with Finnish lyrics. The acoustic guitar spreads campfire atmosphere. Tarja enjoys singing in her mother tongue and uses a strong accent. Very melancholic and perfect for cosy places at Finnish lakes.

‘Higher Than Hope’
A ballad full of feelings as the closer of the album. At the beginning in the typical Nightwish style; in the chorus the song explodes thanks to Tarja, Marco and the powerful instrumental arrangements – a great climax! Could remind some people of Within Temptation.