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Dark Passion Play
|Price:||CDN$ 13.93 & FREE Shipping on orders over CDN$ 25. Details|
Frequently Bought Together
Customers Who Bought This Item Also Bought
|1. The Poet And the Pendulum|
|2. Bye Bye Beautiful|
|4. Cadence Of Her Last Breath|
|5. Master Passion Greed|
|8. Whoever Brings the Night|
|9. For the Heart I Once Had|
|10. The Islander|
|11. Last Of the Wilds|
|12. 7 Days To the Wolves|
|13. Meadows Of Heaven|
Although it is their sixth studio album,Dark Passion Play marks the beginning of a new era for Finnish symphonic metal masters Nightwish. With new vocalist Annette Olzon onboard, Nightwish returns with their most accessible material to date. Firmly rooted in their trademark symphonic sounds featuring elaborate keyboard and guitar parts blended seamlessly with intricate string and choir sections, Olzon's vocals have more pop sensibility as they are far less operatic than those of her predecessor. This is perfectly exemplified in the vocal melodies in Amaranth, Eva and the scorching duet with bassist Marco Hietala titled Bye Bye Beautiful. Nightwish mastermind Tuomas Holopainen (keyboards) not only wrote all the lyrics and all but two songs on the album, but also helmed the project as one of the producers along with T.C. Kinnunen and Mikko Karmila, who also mixed the album. Dark Passion Play has already made history as Finland's most expensive recording project to date with massive string sections and choirs and it is clearly evident in the impeccable production. Nightwish have taken the symphonic elements of their prior works and infused them with a new voice to create a sound representative of the album title: dark, playful and, most of all, passionate.
Nightwish returns with an ambitious epic metal opus that begins promisingly enough but quickly devolves into another formulaic power rock affair. The band's at its most powerful and convincing on the opening "The Poet and the Pendulum" (all 14 minutes of it), the dynamic "Bye Bye Beautiful," and the infectious pop-inflected "Amaranth." But mid-album tracks such as "Sahara," "For the Heart I Once Had," and the limpid closer, "Meadows of Heaven," retread familiar ground that reminds us of epic metal's more disappointing tendencies--faux pop, bombastic bombast, anemic anthems, and a penchant for the maudlin. With new vocalist Annette Olzon in the ranks, the Finnish outfit stands poised to make a thoroughly convincing and wholehearted classic (listen to "The Islander" for further proof) but falls short, delivering a decent but distracted recording. It's too ambitious, too scattered, and, simply, too long--and that's too bad. --Jedd Beaudoin
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Top Customer Reviews
The first notable difference is the introduction of Annette as lead vocalist. Her voice and style are completely different in comparison to Tarja's previous reign with the band. It would be easy to put the blame on her, but quite frankly, she does a remarkable job stepping in with the band. I've had the pleasure of meeting Annette in person, and she's a sweetheart with a beautiful voice to boot.
No, the real problem with Dark Passion Play is that it sounds too much like a Lacuna Coil album. Any doubters, please take a moment to stack this album against a LC album and you'll see what I mean. It is perhaps more noticeable given the fact that Annette has a similar vocal style to Cristina Scabbia, but the real culprit here are the boys of Nightwish who have comprised songs that lack the gothic, operatic crunch of their previous entry, "Once."
Despite this shortcoming, Dark Passion Play is a fine album to listen to. I'm simply not listening to it "as much" as other Nightwish albums. Tarja's presence on those previous albums is not a factor, either. I sincerely hope that Nightwish do not stay down this path, and instead opt to head back into the beautiful territory of "Nemo," "Creek Mary's Blood" and "Ghost Love Score." They are masters in that field.
Most Helpful Customer Reviews on Amazon.com (beta)
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
8) 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.
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.
I won't go into a track by track analysis because so many others have done a better job with that then I ever could (and these things are so subjective anyway). Let it suffice to say that unlike any other Nightwish album (and I own and love them all), there is not one single track on this album that I have any urge to skip over. Not one. Even after many repeated spins. There is so much variety in the musical styles presented here that the sound never becomes boring or repetitive. Yet it all the while maintains that distinctive flavor that is uniquely Nightwish; with the power to evoke a visceral response in the listener (me). That, to me, is quite an accomplishment.
Now, I don't really want to bring up any singer comparisons here because it has already been hashed to death (and not always in the most respectful fashion, which is a shame), but I will say, while not the soprano we're used to, Anette Olzon is a powerful vocalist in her own right. And as the new lead singer for Nightwish, she services the music very well. Exceptionally well, in fact. This is made all the more impressive considering the album was not tailored to her particular strengths. The songs were written and the music recorded before she was even brought on board. That being the case, I can't wait to see what the "new" Nightwish has in store for future albums where her input will have more consideration. But she does a very, very fine job here. Her voice is warm and accessible but can pack considerable punch. And her vocals blend with Marco's beautifully ("The Islander" made my jaw drop). I can't wait to hear more harmonizing from them in the future. Consider me a fan.
I know that certain aspects of this album are going to be nitpicked to death because of the controversy surrounding the band's lineup. But music is so subjective and everyone's tastes are so different. So I guess what I really would like to say is, regardless of any of the reviews you've read (mine included), if you are a fan of Nightwish or are someone just looking for some new music to try, you owe it to yourself to give this album a listen without bias (or at least with an open mind). Hopefully, you'll decide it's worth picking up. I did. And I couldn't be more pleased.
I finally received my copy of the band's long awaited DARK PASSION PLAY. Whatever concerns I had for the band's new music went immediately out the window. Anette's vocals are nothing like Tarja's. I don't think anyone in the realm of metal can match Tarja's powerful vocals. I also think that the band knew that they could not find another Tarja. People should realize that and get over the fact that Tarja is gone. Anette's vocals has that same polished quality I hear in the lead singers from Echoes of Eternity, Within Temptation, and a smidgeon of Leave's Eyes. Maybe too much but at least she can sing unlike most women that pollutes pop music nowadays. Her vocals meshes well with the band. The music is as aggressive as ever without losing forsaking the beautiful melodies that made me fall in love with Nightwish.
I personally think the production and mastering of DARK PASSION PLAY is great. Compared to the band's earlier albums, this is about as perfect as perfect gets. I think Tuomas has written some of his best material to date. Bassist Marco Hietala contributes his gruff vocals again on a couple of tracks like "Master Passion Greed" (one of the cd's more aggressive tracks) and "The Islander". I am particularly fond of "The Islander" which is more folk than metal and an absolutely stunning track. Marco shares with Anette on the track. Another favorite track off the album is the celtic-tinged instrumental "Last of the Wilds". I definitely wasn't expecting Nightwish to delve into celtic music. I thought it was great.
The only song on this cds that left me unimpressed is "Master Passion Greed" and "Seven Days to the Wolves". The songs really didn't have a memorable hook to keep my attention focused. They are bad songs but just not anything to write home about. Overall I was really surprised by how much I enjoyed DARK PASSION PLAY and Anette. After seeing the band perform in concert, whatever fears I had about the band and Anette was all put to rest. Yes, they do sound different with a new singer but Tuomas's uncanny knack for composing beautiful melodies is still there. He just has a new muse to write his music for. Some people may be disappointed in what they hear but I wasn't, that's just my personal opinion. If you don't like it, that's not my problem.