Indisputably, Nightwish, today, in the year of our Lord 2011, are not the defining band of 21st-century metal; they may not even be the most important. However, without a doubt, they are the most famous metal band in the world, and their success is astounding, unmatched for twenty years, reminiscent of the days of Guns and Metallica, or almost. And credit for this goes to Tuomas Holopainen, who, despite the success, has never sold out his creation; instead, if anything, he has gradually distanced it from the simple plots of the beginnings, from the formula that allows any band, metal or not, to appeal to a large audience: with the transitional "Century Child," the orchestra made its appearance, with the imposing "Once" came sumptuous superproductions and imperial arrangements, with a symphonic scenic result in pop music unprecedented. This is what money can do. After that, the change of singer and the need to find new paths, the examination "Dark Passion Play" passed with flying colors, an album once again monumental and orchestral, once again an ambitious concept.
And now, after yet another exhausting wait (third album in eight years, as if Nightwish were a band in a twilight phase like U2), comes another ultra-hyped and ultra-ambitious episode, "Imaginaerum," which this time presents itself as a musical album paired with a film of the same name. Something halfway between films like The Wall and true musicals, although, according to Holopainen, the songs will always be performed by the Finnish group, plus a trusted 500-piece orchestra in tow. The actors will never sing. How will the film be presented? As of now, not even Holopainen himself has a clear idea, which says it all. It is known it will deal with childhood, dreams, nightmares, and art. The usual stuff, you die-hard fans might say.
Exactly, the usual, excellent stuff. Starting with the artwork, which is not really excellent, a mixture of black, blue, and gray, as it was for "Once and Dark Passion Play," and we will start to convince ourselves that the Finns are becoming colorblind.
Put the record on, and an obscure folk intro in the native language takes shape, quickly disappearing and making way for the first single "Storytelling" and its killer chorus. A track that says nothing on the first listen, but by the third, it already wins and convinces deeply, introducing us to the new Nightwish form, which seeks, albeit in part, to leave behind the epic operatic atmospheres of the Tarja era and decisively turn towards musicals. Even Annette Olzon seems to seek a new style in this episode, with a nursery rhyme-like singing and a Disney-like music tone. After a more classic "Ghost River," we find ourselves in front of the interesting "Slow Love Slow," very slow and sleepy (quite the opposite of a ballad), with jazz bar sax notes standing out. A song with an interesting structure, constantly growing and exploding, then introducing us to "I Want My Tears Back," most likely the next upcoming single. It feels like being back in the days of "I Wish I Had An Angel," given the male and female vocal alternation combined with a melody that takes no prisoners. That is to say, a splendid and pseudo-virtuous violin solo introduces a folk tone and brings to mind, for those who remember, "Moondance." With "Scaretale," we return to operatic atmospheres like "Dark Chest Of Wonders," while a cinematic break in the middle of the song reminds us that this should be the soundtrack of a musical. Once again, Annette ventures into particular tones, showing how, unfortunately, the collaboration of Dimmu Borgir with Agnete Kjølsrud (see Abrahadabra) has not gone unnoticed.
An instrumental interlude of "Arabesque," with inevitably Arabian tones, before reaching "Turn Loose Mermaids," a simple ballad despite the magniloquence of the strings. Again, with "Rest Calm" and "The Crow, The Owl And The Dove," the preponderance of Celtic and Irish atmospheres will be noted, due to the collaboration of Nightwish with Troy Donockley, a player of "uilleann pipes." Also interesting are the children's choirs scattered here and there. We come to the chapter "Song Of Myself," which, from the height of its thirteen minutes, should be the summary of the whole record, but in reality, it stops at the sixth minute to make way for a monologue in the style of "Beauty Of The Beast." Finally, "Imaginaerum" closes, a symphonic overview of the whole album.
In short, this new test confirms Nightwish as an extremely mature and complex band, although not particularly deep and innovative. "Imaginaerum" closely continues the new course embarked upon with "Dark Passion Play," however, decisively veering towards musicals and mixing various genres and atmospheres even more. If, like me, you do not appreciate opera, and for the same reason, you could not stand half of Nightwish's songs with Tarja, "Imaginaerum" will conquer you right away. If, on the other hand, you are not at all convinced by the new singer, still give this album a chance because a band, even if power gothic, is not simply a voice with four musicians (and an orchestra) in tow.
8.0
1. Taikatalvi
2. Storytime
3. Ghost River
4. Slow, Love, Slow
5. I Want My Tears Back
6. Scaretale
7. Arabesque
8. Turn Loose The Mermaids
9. Rest Calm
10. The Crow, The Owl And The Dove
11. Last Ride Of The Day
12. Song Of Myself
13. Imaginaerum
Tracklist Samples and Videos
12 Song of Myself 1: From the Dusty Bookself / 2: All That Great Heart Lying Still / 3: Piano Black / 4: Love (13:38)
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