Nightwish
Dark Passion Play

Two years have passed since the release of Nightwish's last studio album, "Dark Passion Play", and it is time to give an objective judgement to an album that, whether due to the change of the singer or the multitude of genres within it, has sparked many controversies.

First of all, some necessary clarifications. "Dark Passion Play" is not a purely metal album, although it is certainly symphonic (whether this is an offense to the album or the group, the readers must judge). To those who still praise the excellent singer Tarja Turunen, it must be remembered that the former singer was, indeed, only that: a singer. The songwriting work and arrangements were all done by Tuomas, Emppu, and, with his joining the group replacing Sami Vanska at the time of Century Child, Marco. Only the voice, the last, albeit indispensable link of the chain, was given by Turunen, who, incidentally, since starting her solo career, has achieved only a quarter of the success of the renewed Nightwish, even in her homeland. Final note: the songs are all written by the historic leader of the band, Tuomas, as in previous albums. So if his themes and style are not to your liking, then you would have stopped listening to Nightwish long ago, or if they move you, you won't want to miss out on their latest effort.

The album, as was said, is not purely metal: we have metal, we have folk, we have symphonic, we have gospel, we have power... Assuming you are determined to classify something as artistic and fundamentally linked to emotions like music into genres.

The album opens with "The Poet And The Pendulum", a long and majestic song, where the orchestra works in perfect harmony with the band, where there is a continuous change of atmosphere, revealing the sensation of the artist's solitude in front of his work and his own death, where metal is the projection of his darker feelings. Reread the story "The Pit and the Pendulum" by E.A. Poe to better understand the use of images and themes in this track.

This is followed by "Bye Bye Beautiful" which, musically, continues and evolves the discussion started by "Wish I Had An Angel". The song aims to be the final farewell to Tarja, where hatred mixes with regret, giving life to an overwhelming chorus.

"Amaranth": the third song reexplores the typical Nightwish themes, the search for something pure and innocent that reflects one's own soul. Musically, the track is quite simple and, without reducing its value, very catchy in its exhortation to seek one's truth.

With "Cadence Of Her Last Breath", a darker atmosphere returns: death resumes its role as protagonist, and although the title might recall Evanescence, here everything is explored much more deeply, both musically (the constant presence of the orchestra and choir) and at the text level (death as an inspiration for art), all in an atmosphere that closely resembles Walt Whitman, the poet-bard of the United States: "O Captain! My Captain!"

"Master Passion Greed" is the angriest track, not only of the album but of Nightwish's entire discography ("Slaying The Dreamer" seems like a puff piece in comparison). The hatred towards the one who, for them, caused the change in mentality and the subsequent separation of Tarja from the rest of the band, (her husband and manager) Marcelo Cabuli, is expressed here with all the power the means of this new album can offer: the orchestra, guitars, keyboards, drums, Marco's voice, and the choir. A word of advice: never anger Nightwish.

After the cruelty of "Master Passion Greed", Tuomas tries to stir our emotions with a song used to demonstrate the vocal abilities of Anette, the new singer: "Eva". The name of the protagonist girl is no accident, symbolizing all the girls in the world, and the song, albeit not exciting on its own, certainly makes a great figure within the album.

"Sahara" at a thematic level is a decidedly original take on the fairy-tale themes of Nightwish’s "Angels Fall First" and "Wishmaster": the thousand and one nights of escape and intense yearning can only lead to an epilogue, tragic but softened by the hope of a better life. The track is driven by keyboards and a relentless choir, as well as Anette’s schizophrenic, in a positive sense, voice which will also accompany the next track.

"Whoever Brings The Night", musically composed by Emppu Vuorinen, is a tantalizing and seductive track that, whilst showcasing the precariousness of carnal pleasures, demonstrates that they are not subjects of disdain and must be lived with seriousness and respect. Musically, the song is original in its arrangements but rather classic in its basic structure.

"For The Heart I Once Had" is certainly the weak point of the album. If "Amaranth" was all in all pleasant, "For The Heart I Once Had" is rather annoying when listened to alone, but here too, as in the case of "Eva", it is the necessary passage to the final part of the album, less dark and more reflective. Musically it is neither original nor enjoyable, but the track is saved by the lyrics, one of Tuomas's most evocative and personal.

We reach the track that contrasts with the scarcity of the previous one: "The Islander", perhaps the best song of the group. Here metal does not exist; the track unfolds among soundscapes, instruments, and rhythms typical of Irish and Northern European culture, all accompanied by Emppu's acoustic guitar and Marco's voice, supplemented towards the end by an inspired Anette, who once again sing the sad solitude of one who does not live life but can now only watch it slip away, again with obvious nods to Whitman.

"Last Of The Wild", which follows directly after "The Islander", is an instrumentally born track that showcases Nightwish's great ability to move with their music. Here too folk influence is felt, but it’s the rhythm and speed that entertain the listener. Also listen, with translation, to the version unfortunately released only in Finland, with lyrics sung by the singer of Indica.

The penultimate track, perhaps the most metal, certainly the most power of the group, is "7 Days To The Wolves". Here, as in "The Poet And The Pendulum", one of the most evident inspirations is Stephen King and his Dark Tower saga, but it's not the only one: death is also a protagonist here but as the moment when a man's true nature is revealed. Hero or coward? "This is my church of choice. The strength of love lies in the sacrifice of love." We have little time to choose, but it will be this choice that gives meaning to our life. After death "Heroes, cowards, never more." Musically there is a strong power structure supported by the orchestra that creates an extremely dark song.

With the last track, "Meadows Of Heaven", we find ourselves after the "7 Days To The Wolves", in a vision of post-mortem life that was anticipated by the closing of "The Poet And The Pendulum". A world dreamed of and described by a few flashes of images, in a dreamlike atmosphere, where Anette’s modulated voice and the orchestra, with the support of a gospel choir at the end, do their work in guiding us to the end of the Journey...

Unfortunately, one of the best songs of the New Era Nightwish, "Escapist", was not included in the album, although it is now available with the latest release, the live-album "Made In Hong Kong (And In Various Other Places)". In that track, the Dead Boy returns, as well as the desire to escape from reality, in a faster and more exciting "Dark Chest Of Wonders".

In conclusion, the album is extremely varied and well constructed. In some ways, it can be seen as the best possible evolution of what were the more sincere origins of Nightwish, that "Angels Fall First" which was later abandoned to borrow different rhythms and sounds, those, perhaps indeed, truly commercial. Nightwish may seem catchy, even in their more "simple" songs, but they are not: lyrics and music go beyond the catchy and try, not always succeeding, to touch some deeper inner chord. "Dark Passion Play" is a reflective album of high compositional level, requiring commitment on several levels: 1. Time: the duration of almost 75 minutes is quite challenging for those who want to listen to it from start to finish without being disturbed; 2. Hearing: the tracks (not all) are complex in structure and orchestration; 3. Emotion: if music is to be a vehicle of feelings and passions, one must be ready to receive them. Ultimately, it is not an album that can be listened to superficially. Unfortunately, perhaps precisely because of this, and some flaws in the area of songwriting, the album reaches high levels, but not excellent ones.

If "Century Child" and "Once" (with "Wishmaster" closely tailing) are true masterpieces, "Dark Passion Play" comes quite close to their level, but does not reach it. "Oceanborn", however, seems ideally surpassed.