Delain bathes in moonlit success with "Moonbathers"

Delain has become one of the most renowned exponents of the prolific wave of Dutch symphonic metal. To continue their ascent to world fame, it has looked up to the sky and bathed in moonlight with its most recent album, Moonbathers. Till now, all of the records of the band have been very well received, which has made the hype for Moonbathers as high as can be.

Delain released its first album, Lucidity, ten years ago. Then, the band was a collaborative project directed by the former keyboard player of Within Temptation, Martjin Westerholt, vocalist Charlotte Wessels and various musicians from renowned bands. Now, that project has turned into a solid symphonic metal band that has only harvested success, in spite of all its line-up changes. Their latest success is Moonbathers, which arrived in the middle of a very extensive tour.

In general, the music of Moonbathers shares the main characteristics of their previous records: short songs, catchy refrains and an optimistic tone. However, it is an album that has a lot of variety. On one hand, listeners can find "bombastic" symphonic pieces - like the ones of their first records, and on the other, there are songs that sound gothic and industrial, like the ones on their more recent albums. All of them are surrounded by a serious, but positive, atmosphere. In Moonbathers, it is easy to tell that all of the members of Delain love what they do. Very few albums are able to transmit that sensation. 

The general theme within the lyrics is the idea that the human being is the most wonderful creature on Earth, but also the most destructive. In that context, there is a latent conflict between the fight against inner demons and their liberation.

Delain now has two guitarists and it is very noticeable. Moonbathers has a lot of guitar. Very different dynamics can be appreciated in songs such as "The Glory and the Scum". On one side, there are very rhythmic and percussive riffs, and on the other, there are very melodic passages.

Timo Sommers' guitar solos are very distinct, but the new guitar player, Merel Bechtold has also her fair share of badassery. The blend of their styles is so good that it is hard to tell what each guitarist is playing.

Moonbathers has very interesting orchestral passages. The most remarkable are the ones of the first song, "Hands of Gold", and the ones on the last one, "The Monarch". They definitely bring back the symphonic element the band had left aside in their previous album, The Human Contradiction. 

In this order of ideas, Martijn Westerholt is very clever on balancing the use of keyboard as an instrument with a sound of its own and keyboard as a substitute for an orchestra. In songs like "Suckerpunch", Westerholt stands out with the use of both electronic and orchestral effects.

There's a lot to say about the vocals in Moonbathers. Charlotte Wessels sings better in each album she records. With her sweet and nasal timbre, Charlotte hits each note with gracious confidence. In tracks like "Hands of Gold", she unleashes all the power of her voice. At the same time, in tunes like "Chrysalis - The Last Breath" and "Danse Macabre" she shines with clean and ethereal notes.

Another new element that Moonbathers adds to the music of Delain are the backing vocals of guitarist, Timo Sommers. These are most evident in "Turn the Lights Out", a piece with a beautiful melody and the spirit of the classics of the band.

Among the tunes that appear in Moonbathers, there is one that is radically different from the others: "Scandal", a cover of Queen. This version projects the freshness and good vibes within the band at this moment in time. One can tell that the band had a blast recording this one. It kicks ass!

In my opinion, the only defect that Moonbathers has is that, for some reason I can't really identify, it is not very memorable. It has everything: good songs, good melodies, relatable lyrics, clever hooks and great pacing. Nevertheless, it is nothing extraordinary. Even the collaboration with the talented Alissa White-Gluz in "Hands of Gold" is a little grey. 

In spite of it being a bit overshadowed by other releases of Delain, Moonbathers is an album with great songs, that is very easy to listen to, and preserves the freshness of a band that can offer a lot to music fans. It is a great appetiser for the releases of the last quarter of 2016, which are very promising.

What did you think about Moonbathers? Please, comment and share.

Tarja Turunen's The Shadow Self - Song by song

The Shadow Self is the most ambitious album, to date, of symphonic metal diva, Tarja Turunen. An army of renowned musicians and a whole record as “prequel” sent the expectations of fans to the sky. Is it really worth listening? Has Tarja Turunen released the album all of her fans were expecting?

Tarja Turunen announced the arrival of her new album, The Shadow Self, with great anticipation. As part of the promotion of the album, she published a mind-blowing list of well-known musicians; released an entire record as “prequel”, and made several trailers.

 

As I highlighted in my review for The Brightest Void, in my opinion, all of Tarja’s previous albums had fallen short in relation to the singer’s talent. Nevertheless, I hoped that The Shadow Self would be, at best, a decent album. Fortunately, for me and for all of Tarja’s fans, my forecast was wrong and, at last, Tarja Turunen released something that matches her talent. I’ll say it right away: The Shadow Self is a true jewel.

The Shadow Self is a dark and elegant album that has the shady side that all human beings hide as a theme. Its main virtue is that the orchestral and heavy elements make a perfect combination. The drums, the heavy guitars, the strings and the electronic elements are blended to perfection, in order to create a cinematic listening experience directed by the piano.

The work of Tarja Turunen as a vocalist cannot receive anything but praises. She has mastered the art of mixing her operatic technique with heavy metal. She invented it and she nails it. Each note that she sings is expressive and natural. There are very few voices as beautiful in the world as Turunen’s, and in The Shadow Self she shows an outstanding confidence. Her voice flows without effort over melodies of great quality.

The Shadow Self is a very diverse album. Each song has very particular sounds and flavours. For that reason, the best way to approach this album is for me to write separately about each song.

Innocence:

It’s a very strong mid-tempo song that introduces The Shadow Self with great strength. From hearing the first notes of the piano, the listener can tell that it’s an exceptional song. The melody of the verse has a lot of character, but what really shines is the chorus. The strings, the piano and the drums accompanying the passionate rendition of Tarja Turunen make “Innocence” a majestic piece.

I find the lyrics of “Innocence” very clever. They talk about how, as life goes by, one goes opening doors in one’s conscience that one cannot unopen, and that’s the way innocence gets lost.

The only objection I have for this extraordinary piece is that it stops abruptly for a piano solo that cuts the flow of the song. I found it unnecessary. It’s one of those inherited indulgences from Tarja’s previous album that make songs drag. All in all, from my point of view, “Innocence” is a magnificent song.

 

Demons in You:

This piece is radically different from the previous one. Its intro is bizarre and baffling. It sounds as if it was written by Primus. What follows is one of the heaviest songs of Tarja to date.

It is an experimental track, in which Tarja shares vocal lines with Alissa White-Gluz (Arch Enemy, ex-The Agonist) over a bed of powerful guitars and a potent beat. It’s a fabulous mix of talents. During the verses Tarja sings and Alissa grunts, Afterwards, both intonate a very memorable and melodic chorus.

 

No Bitter End:

This song appears in the “prologue” to The Shadow Self, but with other arrangements. It is a happy single with a catchy chorus, but it isn’t the most colourful crayon in the box.

As I mentioned in my review for The Brightest Void, the guitar in this son is dreadful and that isn’t improved with the new arrangement. On the contrary, the solo is even uglier.

Love to Hate:

At this point, The Shadow Self returns to the dramatism of “Innocence”. “Love to Hate” is a very intense tune that talks about the people that enjoys the misfortunes of others out of envy.

The main melody of “Love to Hate” is a piano motif that guides a very theatrical and orchestral song. The exotic combination of sitar and guitar match perfectly with all that goes on within the song.

The voice of Tarja is on point in this song. It is one of her more dynamic and emotional renditions in The Shadow Self. She moves very comfortably between whispers and operatic blasts.

Supremacy:

Muse is not my cup of tea, but Tarja makes everything sound good. It is very similar to the original, but it has the added value of Tarja Turunen’s warm and operatic voice replacing the whiny voice of Matt Belamy.

The Living End: 

It is a breather within The Shadow Self’s intensity. It is a very pretty acoustic ballad, in the style of the songs that Bryan May and Kerry Ellis play together. The bag pipes in the background give it a very special touch.

Diva:

This was something that was missing in Tarja’s career: a pirate song. It is an epic, orchestrated waltz with a very histrionic performance by Turunen.

“Diva”, definitely, is one of the most original pieces in The Shadow Self and one of my personal favourites.

Eagle Eye:

This is the second song that appears in The Brightest Void as well. And how could they miss the chance to record it twice, being such a great piece? In this occasion, the arrangements are a little more “industrial” and the guitar parts are slightly different. Nevertheless, the chemistry of the voices of the Turunen brothers is still the hook of the song.

Undertaker:

The piano melodies with the rock band as background are recurring sounds on this album. This piece retakes the style of the first two records as a solo artist. It could fit perfectly in What Lies Beneath. It has a catchy refrain and very tasteful atmospheric, orchestral passages.

Calling from the Wild:

This song appears flimsy, compared to the rest of the tracks in the record. As it seems, every album needs a filler song. It’s enjoyable, but it is just too bland.

I have never liked the style of Tarja’s long-time guitarist Alex Scholpp. In my opinion, his sound is just too messy. Besides, I think his riffs are ugly and lack creativity. That mediocrity is a setback for “Calling from the Wild”.

Too Many:

It is a smooth piece that helps the album dissolve until it finishes. Again with the piano as the leading instrument, it is a very theatrical song with lots of changes and dynamics. It is an epic conclusion that closes with a whispered refrain that’s on loop, as a coo, until the song progressively burns out.

After the song finishes, a few minutes pass and (SPOILER ALERT) there’s a mock bonus track. I loved the idea. It reminded me of albums in the 90s, such as Nirvana’s In Utero, in which one had to fast forward twenty minutes of the last son to get to a hidden track.

In my opinion, The Shadow Self is an exceptional album. It is the first record of Tarja as a solo artist in which she fully takes advantage of her voice with creative melodies and interesting lyrics. If her career continues down this path, maybe her next productions could be as majestic or more than the records she made with Nightwish.

What do you think about The Shadow Self? Please, comment and share.

Tarja 10 Years after Nightwish: The Brightest Void

The Finnish soprano Tarja Turunen prepared a whole record of nine songs as a “prequel” to her next album, The Shadow Self. Depending on the taste of fans, this advance could work in two ways: exciting them or preventing them from disaster.

It is hard to believe it, but Tarja has been a solo artist for more time than the time she spent as lead singer of Nightwish, the band that got her to stardom. While Nightwish has been constant with the quality of its records, Tarja seems to be adrift in a sea of experiments that sometimes give fantastic results and others dreadful. Her latest experiment was The Brightest Void, a prologue of nine songs for her most recent album, TheShadow Self.

The Brightest Void is a very diverse mix of original songs, covers and pieces written for other projects, arranged specially for this record. Despite the participation of many different musicians, the album has a very consistent, dark and melodic tone. It mixes loud guitars with orchestral elements, potent drums and electronic atmospheres. At times it is hard rock; at others heavy metal, and sometimes it sounds like the soundtrack of a suspense movie. The only constant element is the powerful voice of Tarja Turunen.

As it must be, Tarja is the centre of attention all the time. It is evident that she is at her best moment as a singer. Her technique has always been perfect, but her voice has never had this level of confidence and boldness. Her timbre is warm, round and expressive. In songs like “Shameless”, she shows her versatility in transitioning from whispered verses to brilliant and powerful choruses.

In my opinion, the piece where Turunen shines the most is “Eagle Eye”, a very rhythmic ballad, with a beautiful refrain that talks about appreciation for life. Furthermore, it has special guests Toni Turunen doing some vocals and respected drummer Chad Smith of Red Hot Chili Peppers, whose participation is on point.

In terms of song writing, the melodies of this record are a lot more creative than the ones in Tarja’s previous album (Colours in the Dark), and give a lot of more game to her voice. However, their quality is still far from reaching the one of the melodies the soprano used to give voice to in Nightwish.

In the same order of ideas, the songs with the best vocal lines in The Brightest Void are the ones of the heaviest tracks. A very good example is the hard rock piece “Your Heaven and Your Hell”, in which Tarja collaborates with Finnish star Michael Monroe.

Unfortunately, The Brightest Void has lots of weak spots, and the majority of them are recurring vices that appear in all of Turunen’s discography. The most evident of those vices are the stale, dirty and lazy guitar riffs. In most of the songs, it seems that the instrument is only there for the music to sound like metal, but it doesn’t make any substantial contribution to the songs.

Although it’s not a bad song at all, “No Bitter End” has one of the ugliest and dullest guitar lines in rock. It’s as lame as a salad from McDondald’s. From that point until the end of the record, there are no guitaristic achievements to tip the balance.

Another negative aspect of The Brightest Void is the overindulgence with atmospheric instrumental passages in songs. Many of them drag with electronic atmospheres that fail in their attempt to create tension. “An Empty Dream”, “Witch Hunt” and even the cover of Paul McCartney, “House of Wax”, turn out to be painfully boring.

The album has a pretty good closing with a mystic version of Shirley Bassey’s “Goldfinger” and a new mix of her legendary collaboration with Within Temptation, “Paradise (What about us)”.

All in all, Tarja’s rendition of each song is great and that’s why it’s worth listening to The Brightest Void. Despite its flaws, it could be a great appetizer that establishes the tone for a very good album. Hopefully, The Shadow Self could be the masterpiece that’s missing for Tarja Turunen to shine again like she did with Nightwish.

Have you listened to The Brightest Void? What do you think about it? Please, comment and share,

Delain Live in Bristol

On October the 22nd 2015, Delain started their European headlining tour at The Marble Factory in Bristol, England. With Anneke Van Gierbergen's The Gentle Storm and Welsh band Kyshera as supporting acts, the dutch symphonic band pleased rockers with their fresh "feel-good" songs and the right dose of metal. 

What inspired me to start blogging about music, entertainment and cool stuff was the urge to tell the world about a fresh, new, supporting band that blew my mind with its charm at a Tarot concert in Mexico City. This was back in 2010 and that band was Delain. Five years and two albums after, I got the opportunity to be in the first show of their 2015 headlining tour in Bristol, England. I had pretty big expectations and, fortunately, they were pleasantly surpassed. 

By the time I got into the venue, supporting band Kyshera was already playing. The Welsh "power trio" did a good job warming the audience; playing something similar to metalcore that they defined as "konik". Their music is not my cup of tea at all, but I think teenagers could like it. 

What I would criticize about this band's show is their use of samplers. Even though must bands use them, for me samplers are a big turn off; even more if bands sample rhythmic or acoustic guitars. Live music is supposed to be LIVE. 

In the end, Kyshera showed energy and passion on stage, but their music just didn't click with me. 

When I bought my ticket, I had no clue who the opening bands were, and I didn't care. To my surprise, the second band was The Gentle Storm, the latest project of Anneke Van Giersbergen - In case you don't know who she is, Anneke is the vocalist that inspired the music of bands such as Nightwish, After Forever, Epica and many other female-fronted metal bands - and to top it up, her backing vocalist was the talented Mexican singer Marcela Bovio (Stream of Passion). 

Anneke has a unique voice that warms the heart, and the musicians playing with her are extremely talented. Their half an hour setlist was conformed by songs of the album The Diary and tunes of Anneke's former bands (The Gathering and Agua de Annique).  There couldn't be a better opening act than a legend of the genre. 

As much as I enjoyed the supporting act, I was really anxious to see Delain live. The band started their set list with the song "Tell Me, Mechanist" from their latest album The Human Contradiction. It was a much unexpected opening number, and a very powerful one. It made good pairing with the second song "Army of dolls", which has become one of the favourite songs of the band to play live.

Delain is an ensemble that sets a very special mood in their live act. Their attitude and music make fans feel empowered with a very possitive energy. Their sound has the aggressiveness of heavy metal, but certain magic that makes people smile and be in a good mood. 

Charlotte Wessels is one of the most charming singers in the metal scene. She doesn't stop smiling, and she really seems to enjoy every moment of every song of the set list. She is sweet and imposing at the same time. That combination could be appreciated in the very hyped live version of their single "Stardust".

The other musicians of the band seemed to be having a blast as well. It was guitarist Merel Bechtold's first performance as an official member of the Delain, and she nailed graciously all her riffs and solos. Also band leader Martijn Westerholt gave all his energy with his kick-ass keyboard melodies.  

In general, the set list was well-balanced, and included songs from the four albums of the band. A surprise of the night was that the band played many tunes from its first record, Lucidity. "Sleepwalkers Dream", "Frozen" and "Silhouette of a Dancer" were a very pleasant treat for the band's oldest fans. With so many changes in the band's line-up, it is amazing to listen to the new flavour this particular ensemble impregnates to this songs.

Delains trademark songs also made Bristol's Marble Factory shake. "April Rain", "The Gathering", "Get the Devil out of Me" and the closing number "We are the others" made the audience cheer and sing with their memorable choruses and catchy melodies.

Small fragment of "April Rain" live

Bristol's Marble Factory saw the premiere of "Turn the Lights Out", a new song that will possibly be in the next album of Delain. It is a very enjoyable mid-tempo song, with a vibe similar to the one of The Human Contradiction. As most of Delain's tunes, it has a very singable chorus. At least in the live version, it includes some brilliant backing vocals from lead guitarist Timo Sommers. I hope he sings also in the album version, because his voice mingles extraordinarily with Charlotte's.

As I said before, I am not a fan of backing tracks or samplers in live performances. While playing the song "Milk and Honey", the backing track was not in synch with the instruments, which made the band struggle throughout the tune to get it right, especially drummer Ruben Israel. Delain is a fantastic live band, it shouldn't let these kind of gimmicks undermine its show.

In the end, I had a lot of fun with Delain. They played the right amount of time to make fans happy, but to leave them craving for more. There were no boring moments or dispensable songs. It was a great start for their European tour. I would definitely recommend attending to a concert of this band. 

Have you seen Delain on tour? Are you planning to attend to one of their concerts? Please, comment and share.

Set lists:

The Gentle Storm
Heart of Amsterdam
Brightest Light
The Storm
Eléanor (The Gathering)
Witnesses (Aqua de Annique)
Strange Machines (The Gathering)
Fallout (Devin Townsend Project)
Shores of India

Delain
Tell Me, Mechanist
Army of Dolls
Stardust
Milk and Honey
Sleepwalkers Dream
Frozen
April Rain
Silhouette of a Dancer
Lullaby
Turn the Lights Out (New song)
Get the Devil Out of Me
The Gathering
The Tragedy of Commons
Not Enough
------ Encore ------
Mother Machine
Stay Forever
We Are the Others

Halestorm and their Mirage of Wild Life

Halestorm - the North American hard rock band founded by the Hale brothers - looks forward to continue with its success presenting a radically different album from their previous ones: Into the Wild Life. Their second record, The Strange Case of... was a powerful injection of fresh blood to the genre, which was reflected in a Grammy Award on 2013. With such expectations, can the expedition of Halestorm into the wild life surpass the fierceness of their last album?

On 2012, I was very surprised with the freshness of a new band that combined the simplicity of pop, the anger of heavy metal and the sensuality of rock'n'roll. The energetic voice of Lzzy Hale and the turbulent rhythms of Arejay Hale were a great hook for me to await their next album. Now that I have Into the Wild Life on my hands I realize that this is a completely different band from the one who gave the world anthems like "I Miss the Misery" and "Here's to Us".

For the most part, Into the Wild Life says good bye to Halestorm's heavy sound. This record has more of a classic rock sound, with some electronic touches and some shades of country. On its defense, it has songs with a spicy touch of soul. You can feel that it was recorded in Tennesse. On that sense, the song where the mix is appreciated most clearly is "Amen", the natural single and one of the best tracks in the album. 

As always, the main course is the voice of Lzzy Hale. She is an amazing singer and is the one that makes it difficult to stop paying attention to the songs that conform Into the Wild Life. There's something about her way of pronouncing the word "fuck" that sends shivers down my spine. At the same time, drummer Arejay Hale experiments with new rhythmic environments that create very interesting atmospheres.

From my point of view, Into the Wild Life has few memorable songs. Besides the singles, "Apocalyptic" and "Amen", there are few outstanding tracks. The only one that, in my opinion, will remain as a Halestorm classic will be "I Like it Heavy". It is a "bluesy" tune about the love for loud and rhythmic music. This song also keeps the sexiness of the lyrics of the previous albums.

Now that the virtues of Into the Wild Life have been pointed, let's talk about the flaws, which are many. I had huge expectations for this album and I received something very different to what I was expecting. It is a record that is too dense to be listened from beginning to ending, because of its numerous slow songs and ballads. Choruses are still catchy, but something happened with the wit that characterized the band's melodies.

One of my few concerns with Halestorm's last record was that it seemed to me that it was over produced. With Into the Wild Life is the exact opposite: it seems as if producer Jay Joyce was on vacations and didn't give a shit about the songs and the sound of this album. In most of the songs, the guitars sound totally detached from the rest of the instruments and the bass seems nonexistent.

Many of the tracks end with instrumental transitions with the purpose of being connected to the following ones. I found those transitions very annoying and tasteless, because they were forced to fit, but didn't resemble neither the song that was finishing nor with the one that was starting. They are simply awful.

In terms of production, the most disappointing aspect is the guitar sound. In the scarce moments where the heavy side of Halestorm shows up, the distortion has an unpleasant rugged dirty sound. On the other hand, there are plenty of clean guitar parts in which a very dull flanger is used that makes slow songs to drag even more.

Sadly, the "Making of" looks way better than the actual album

As for the lyrics, most of them are about being yourself and doing whatever you want to do, even if others disagree. Personally, I missed the simple straight forward lyrics of previous albums. Also the hot sexy element is almost completely lost and, for me, that was one of the main turn ons of Halestorm.  

Into the Wild Life has its merit and surely many people will like the direction Halestorm is taking with their music. However, I think it goes very far from the heavy sound that  listeners were used to. I recognize it has some strong points, but it's not my cup of tea. In my opinion, Halestorm is a fantastic band and they can do better. Opposite to Halestorm's previews records, I wouldn't recommend Into the Wild Life.

Have you listened to Into the Wild Life? Did you like it? Please, comment and share.

Endless Forms Most Beautiful by Nightwish - Song by song

Nightwish, the queen of female fronted symphonic metal bands, doesn't want to step down from its throne. That's why they keep making metalheads happy with their endless wit for melodies. With a new singer and renewed siprit, Endless Forms Most Beautiful seeks to condense in eleven songs the idea of the greatness of the cosmos which we have the fortune to belong to.

I do not own the rights for this picture. It is not used with any lucrative purposes.

In 2007, when the Finnish band selected a pop singer as replacement for operatic vocalist Tarja Turunen, many fans were very disappointed. Though the music didn’t lose quality, time proved them right, and it was evident that Anette Olzon didn’t fit the role. Fortunately, the band decided to give the part to the best singer in the scene, Floor Jansen. Her enrolment was received with excitement and curiosity. That is why Endless Forms Most Beautiful arrives with very high expectations and, in my opinion, pays off.

It is a delight to listen to Floor Jansen singing. She is a vocalist with lots of presence, who frees all her power when necessary; but caresses notes with sweetness and delicacy in the most intimate moments of songs. Her voice fits to perfection with the one of Marco Hietala (male vocalist and bassist of the band). However, in this particular record, he lets Floor Jansen be the center of attention and mostly supports with backing vocals.

In contrast with the latest records of Nightwish in Endless Forms Most Beautiful the orchestral arrangements are not as present as the rock band. Every member of the group shows off with his instrument. Readers who have been following Nightwish for many years can enjoy songs that evoke the music of albums like Oceanborn and Wishmaster.

There is a great balance between distorted guitars, fast drum beats, keyboards and orchestral elements. There’s also a lot of presence of piper Troy Donockley, who adds folky sounds to the music and very tasteful backing vocals.

Each of the songs of Endless Forms Most Beautiful is worthy of attention. All the tracks have particular stories to tell, so I think all of them deserve to be analyzed.

1. Shudder Before the Beautiful:

A few spoken sentences, pronounced by British scientist Richard Dawkins, are the sparkle for an explosive introduction to the album. The band and the orchestra show off with all their might in this song, and honor its title by making whoever listens to it shudder before its beauty.

Floor Jansen starts singing delicately, almost whispering; but unfolds the full potency of her voice before the track reaches the chorus. At last, Nightwish has a strong vocalist again and this song proves it.

Another of the surprises that caught my attention was that, after many years, keyboard player Tuomas Holopainen and guitarist Emppu Vuorinen engage in a battle of solos. The tangling harmonies of both instruments demonstrate amazing chemistry between both of them.

I do not own the rights for this video nor its content. It is not used with any lucrative purposes.

2. Weak Fantasy:

It is one of the heaviest tracks in the album. It has a very rhythmic riff and very clever vocal melodies. The song also has some solid acoustic guitar passages that give it an unconventional touch. One can notice the hand of bassist Marco Hietala in the composition. There are certain parts that remind listeners of Marco’s other band, Tarot.

The harmonies that Floor and Marco sing together are proof of the great chemistry their voices have. They do not take too much advantage of it in this particular record, but I consider that their vocal combination is better than the one Marco and previous singer, Anette, made.

3. Élan:

This song is a jewel that invites the listener to enjoy the wonders that being alive offers. It is simple, festive and folky. Élan has melodies that can stay ringing in one’s mind for weeks.

The protagonist of this tune is, definitely, Troy Donockley. With flute and pipes arrangements, Troy shows that he can provide many fresh sounds as the new member of Nightwish. He also provides some solid backing vocals.

I do not own the rights for this video nor its content. It is not used with any lucrative purposes.

4. Yours is an Empty Hope:

Another heavy song empowered by one of Empu’s classic tangled riffs. Its lyrics talk about hatred in the internet, a topic that has turned recurrent in metal albums over the past few years. The symphonic orchestra frolics with guitar and drums, in order to achieve a powerful musical storm.

5. Our Decades in the Sun:

A ballad dedicated to the parents of the members of the band. It’s a heartfelt and enjoyable song, but it can easily be skipped.

 

6. My Walden:

The lyrics of Endless Forms Most Beautiful present many literary references worthy of listing. "My Walden" is based on an essay about life in the woods by American writer Henry David Thoreau.

The pleasure of enjoying nature is a recurring topic in the lyrics of Nightwish. It has a marvelous effect when accompanied by folk music and a catchy chorus. The only turn-off this song has is that it suddenly changes to a second movement, less cheerful, that cuts the inspiration of listeners who are expecting to sing the chorus one more time.

7. Endless Forms Most Beautiful:

The title of the album is inspired in a phrase that appears in Charles Darwin’s The Origin of Species. “Endless Forms Most Beautiful” is a very animated song with a “bombastic” beat. Its lyrics are about the wonders surrounding evolution. With a very catchy chorus and magnificent orchestral passages, it generates an atmosphere as intense as the words in its verses.

I do not own the rights for this video nor its content. It is not used with any lucrative purposes.

8. Edema Ruh:

Music is a cosmic force that has the capacity to reach ears and hearts, just to whisper the phrase: “I understand you”. “Edema Ruh” is a tribute to those who make that magic force possible. It is a beautiful song that tucks the souls of the ones who have played a musical instrument.

9. Alpenglow:

This song will be very much appreciated by fans of the first records of Nightwish, like Oceanborn or Wishmaster. It generates the mental image of white guitars and owls on album covers. For those of you who aren’t familiar to the past of Nightwish, this means lyrics about nature, “bombastic” music, lots of keyboards and plenty of female vocals.

10. The Eyes of Sharbat Gula:

At this point, Endless Forms Most Beautiful slows down violently and indulges to a monotonous and dark instrumental song. This piece is inspired in the famous National Geographic picture of a green eyed girl from Afghanistan. Piano, flute, orchestra and choir succeed in expressing the harm suffered by innocent people during wartime.

11. The Greatest Show on Earth:

Brace yourselves for the 24 minute finale of Endless Forms Most Beautiful. It is the most ambitious piece ever written by Nightwish. It has the intention of representing the fascination for millions of years of evolution in a glorious heavy metal symphony. For this purpose, the band makes use of atmospheric and natural sounds and several speeches by scientist Richard Dawkins.

The effort is titanic, but a track that runs for nearly half an hour should have the power of keeping the attention of listeners during all that time. That is my concern with the “The Greatest Show on Earth”. I see this song as “big”, not great. As the “legendary” conclusion of the album, I find it terribly diffuse. On its defense, the mix of Toccata and Fugue and Enter Sandman is fucking awesome.

Endless Forms Most Beautiful is a great start for a new stage in the career of Nightwish, with two new members (the new drummer is a temporary replacement) and many new soon-to-be classics.

Have you listened to Endless Forms Most Beautiful. What did you think about it? Please, comment and share.

Introduction

Since 2010, I've been keeping a blog in which I write about music, entertainment, concerts, plays, movies and all the fun stuff I think is worthy of being promoted. I am very passionate about this topics and blogging has been a marvellous way of expressing myself about them.

In my opinion, social media and blogs are great tools for sharing points of view with people from different parts of the world. So far, I've been writing reviews and articles in Spanish, my native language; but most of the entretainment products I review are made in English, for an international audience. That makes me want to take the opportunity to reach readers from different backgrounds and cultures who share my interests.

As you will be able to appreciate, most of my posts are related to heavy music, such as hard rock and metal, but once in a while I write about other kinds of entertainment. I love music, but I'm also into big productions, such as concerts and shows. It's very rare that I write about movies, because I don't know that much about them and I preffer to leave that to more experienced critics. Nevertheless, if a picture hits me deep in my core I comment on it.

I hope you have fun with my posts. Please, comment and share.

PD: If you can read Spanish and want to take a look at my other blog, you can visit http://frankdiazp.blogspot.mx/