NIGHTWISH : "Century Child"     nightwish       drakkar

studio: Finnvox Studio - Helsinki (FIN)
Cave Rock - Kitee (FIN)

Drakkar Records
a division of Drakkar Entertainment GmbH

preview - review  by dalia "gryphon_spirit" di giacomo____   


You already know singer Tarja Turunen, her   opera-like voice (she has indeed studied at the Sibelius-Akademie and is engaged now in music highschool for Opera-singers in Germany); and you already know that Nightwish music presents elements of Symphonic Progressive Power merged so well with Therion elements, Epic resonance's, Gothic flavours, melodic chords, energetic guitars and drums. It's so cool when bands mix in this clever way many musical elements (and there are very few who succeed in doing it with such a success and such a taste), cause the result is a unique style, which will be loved by a large base of listeners. Nightwish indeeed can enumerate a so wide group of fans who range from Gothic till Heavy and Power like almost no other bands. And this is not happening by chance, and from the moment that blood is not water, this new album "Destiny Child" is simply immense and high-class. And if it's true that lately I really  had the pleasure to review really cool CDs, I can say that this one is  a masterpiece under all points of view. Production, recording and mixing: perfect in every note, Tanja 's voice  methinks shows once again to be the most beautiful and most mature female voice of the scene, she sings strongly with a more than celestial voice, that, anyway, sounds incredibly clean so that every single word is understood without difficulty; the rest of the band is kicking ass, playing in a sensational way. Stop, end of story: this album is awsome and more than worth its price. I think it is a must to have for everyone, and no one will be disappointed! But I bet you want to know more , isn't it? Ok: melody and rhythm are absolutely well structured. There is no one single boring track. Tarja 's voice can turn into reality the musical ideas of keyborder and componist Tuomas, pushing  Nightwish music schemas in a romantic sphere.
In comparison to Wishmaster (2000), Century Child shows an evolution of the band that has become even heavier and versatile without betraying their basic characteristics. As far as arrangements and orchestration are concerned, in this album a symphonic orchestra is powering the band in many songs, there is a real chorus and bassist Marco is often providing a second voice. In particular I have  to underline the duet between Tarja and Marco in "Phantom of the Opera" for example. 

Ohh but attention, if some of you is thinking that this album would sound too much bombastic or excessively Opera oriented is on the wrong way completely, cause the music of "Century Child" is fascinating and not  exaggerated,  in many moments so attractive, resulting fresh, dynamic, never boring, never artificial or tedious . Most tracks last around 4 minutes so they are not too long. And the heaviness and the "motion" inside  this production is out of discussion, so you too, dear diehard heavy metal listeners, you too can find "bread for your teeth": guitars, keyboards and  bass are playing at the top and double bass drums are also to be heard. No wonder if "Century Child"  will be indicated as the album of the year ....and please , before speaking about the 10 tracks, let's observe a minute silence for all who still are blabbing that "metal" is pure noise, cause... Nightwish have definitively decreed their passing away!!

Breathtaking, the album opens with BLESS THE CHILD a melodic strong heavy and catchy track. heavy guitars and gently epic touch for a sad anthemic- like song beyond space and time. Perfect the symphonic accompaniment, background vocals, chorus and Tarja's voice. 
END OF ALL HOPE is absolutely epic, suited for being the musictrack of some medieval crusade, but at the same time, it looks modern, fast, extremely dynamic with a lot of short but impressing virtuoso passages of guitars. Hymnic and agreeable.

DEAD TO THE WORLD is good supported by Marco's voice besides  Tarja , very power oriented with energetic guitars, a fast tempo alternates with slower, intense passages and we find again an anthemic atmosphere. 
EVER DREAM opens with strings, piano and Tarja's voice in so a gentle way till, soon enough, the orchestral soundscape bursts in, but some passages are underlined principally only by drums, guitars and by an expressive and strong Tarja, while a melodic hymnic refrain  will touch you.
Oh! and now attention cause SLAYING THE DREAMER is opening really heavy with strong and powerful guitars which will go on underlining this way the whole song, which is doubtless one of the hardest that Nightwish have ever proposed. And it becomes ever more aggressive and faster when Marco shows a strong angry vocalism. Uptempo passages and background chorus add to the song an enormous sensation of mighty strength.
FOREVER YOURS is sad and gloomy, with strings in the background there to support an angelic voice which will move you to tears. A slow  ballad-like melody lost in time with some celtic flavours will arouse a sensation of despair. Simply fantastic.
A gloomy male chorus and a snow-white effect is underlining Tarja voice in the beginning of OCEAN SOUL where atmospheric music meets anyway very heavy guitars again. Beginning slow , develops itself as a dynamic and rhytmed song without losing the general melancholy and hymnic taste. Absolutely beautiful.
FEEL FOR YOU is extremely rhytmed and rather dark, showing also a male vocal moment full of strength. In this song  many typical gothic elements appear very clearly.
Simply infinite, a perfect symbiosis of Gothic , Power and Heavy is THE PHANTOM OF THE OPERA which shows another duet between Marco and Tanja with opera like flavours which are extraordinary slim, not boring or bombastic at all. Irresistibile the refrain and all chords.
Dark, hymnic, sad, obscure, with a catchy melody but also so unbelievable modern, BEAUTY OF THE BEAST is the last jewel and the only one really long song (10:22), which offers emotions, virtuosities and instrumental perfection. It is the last of 10 tracks, the one more beautiful than the other.

What can I say more? I'm really impressed by this excellent  work. 

dalia di giacomo    


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