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Prologue |
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In 1997 keyboardist Tuomas Holopainen was touring with his then band, Nattvindens Grat, and he also wanted his acoustic project - born from the love for The 3rd And the Mortal - to be signed by a Finnish label. The tour bus was shared with Spinefarm Records act Babylon Whores, whose rhythm guitarist Ewo Pohjola was doing A&R work for the record company. Several demos contained in a big bag he had brought were of Death Metal outfits in search for a deal, but were unceremoniously thrown out of the window because devoid of originality. Nightwish's second demo, yet, was different since it was acoustic and featured no growling. It also featured the track "The Carpenter", which became an instant fave and led to an ink deal with the aforementioned Finnish label. |
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Package version |
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The version in my hands is a normal plastic case containing a 16-page booklet, the 9 tracks of the album and 4 bonus recordings, including a studio track, for a total of almost 72 minutes of music. It's a special collector's edition with lyrics, sleeve notes, autographs and messages. |
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Visual aspect |
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The artwork is based on a photo by Garry Black that appears in different ways and parts from the frontal page of the booklet to the back of the case, whereas the reissue design was dealt by Curt Evans. The front cover is simple but effective. There contains a red/prune violet dusk with a near, well-visible moon, a solitary tree saved from its felling in a field. The photo was shot in Beauce, Quebec. Nightwish's logo is in a bidimensional white, placed high on the left. The same elegant Italic type was used for the album's title, which appears below on the right. The second page contains a half-length picture of the band - then a quartet - and then four recent photos of the members' faces above as if they were ghosts, with the description on the left of their names and roles. The third shows an introductory comment about the spirit of this debut album which should have been just a demo recording in the beginning, and represents a situation and blend of feelings (innocence and ambition) that would never occur again in those 4 people. In comparison to the black background of the previous page, the fourth and the fifth exhibit a red colour under which the initial tree is barely visible, unlike the distinct title and lyrics of the first two songs in white. In the 6th and 7th page the lyrics remain in white, the faded tree remains in the background, but the titles are in purple violet. In the following 2 pages the tree protagonist of the front cover reappears, but this time it is at the centre of the booklet and was photographed much closer. We can see it is a very large tree, rich in branches hanging distant from the trunk high and below. Far away several other trees can be seen. The black of all the trees contrasts with the colour of the sky, starting vermillion red, then turning to magenta. Near the internal border of the two pages are situated the lyrics of the bonus studio track, while at the sides lie 4 photos of the members with each one of them separated from the others. The tenth and the eleventh page repeat the same theme with the portrayal of the well-known unfocussed tree on the background. The colour used here is orange, whereas the lyrics and titles are white. Also pages 12 and 13 recur to the known tree, but this time the background is strawberry colour and magenta, the lyrics in white, and the titles in ancient pink. The 14th pages portrays a description by Dante Bonutto from Spinefarm Records UK of the genesis of the album placed on an orange and prune coloured background which continues on the 15th page, which is dedicated to the credits of those who played and recorded these compositions; here the sky is tinged with orange, pink and purple. These 3 colours are repeated in the 16th page, where the photo of the tree on the front cover is shown exposed to a fast movement effect, so that the tree and the ones far away become shaded stripes. The logo and the contacts of the record company are added at the centre below, while in the middle above stand a few sad lines excerpted from the title track of this platter. |
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(Nightwish's mastermind Tuomas before assuming pirate look) |
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(2007 reissue album cover) |
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Trivia |
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Tarja fluently speaks Finnish, English, Spanish and German. |
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Lyrical content |
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Engineering and sound quality |
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Arranged with Nightwish, recorded, mixed at Kitee's Huvikeskus studio between April and September 1997 by Tero Kinnunen, then mastered at Finnvox studios by Mika Jussila (Sonata Arctica, Finntroll, Stratovarius, HIM, Moonsorrow, Holy Knights, Ram-zet, Throes Of Dawn, Apocalyptica, Grenouer, Impaled Nazarene, Edguy, Moonspell, Insomnium, Amorphis, Nocturnal Rites, Sentenced, Lordi, Children Of Bodom, Orpheus Omega, Vargrav, Warmen, The Raven Age, Asylum Pyre, Shiraz Lane, Stoned Statues, The 69 Eyes, etc.). The quality was excellent for those times, the sound is definitely 90s, and still it never makes you yawn even by today's standards, also thanks to the fact the drums are not as overdone as on the group's later albums. As some pieces were added on the later re-issues like this one, they are a bit of lesser quality, with less explosive kick-drums. The bass is luckily often audible in all compositions, and no instrument or singer prevails at the expense of the others. The remastered version decidedly makes the songs even more effective, especially during guitar solos. |
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Track-by-track musical analysis |
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The tracks are inspired by a good amount of influences: Gothic, Symphonic, Opera Metal, Middle East tunes, Celtic music and more. The album begins with "Elvenpath", introduced by a spoken description by Tarja on a keyboard basis inspired by Disney movies and Bakhshi's "Lord of the Rings". The piece immediately becomes lively by catchy drumwork, and also thanks to bass and guitar strokes, Power Metal drums rides in the sign of early Helloween, enriched by fast keyboard touches. Tarja's young voice doesn't always follow an operistic pattern, and this diversification makes things more interesting. In a first break are short descriptive spoken male vocals after 2 swords clash one against another, and then the double bass drum ride returns, matched with Tarja's vocal parts. The second break brings the male speech back before a guitar solo which leads to the conclusion assuming so many facades. This is the only Power/Speed Metal track of the full-length. Introduced by piercing keyboards sounds and heavy drumwork in mid tempo, "Beauty and the Beast" evolves into remarkable Symphonic Metal, sustained by memorable axe embroidering and stubborn keyboards. Tuomas' vocals happen by turns with Tarja's, her always more powerful and higher. An interruption by ogre's vocals and slamming drum parts changes the atmosphere, bringing later gradually sunny keyboard lines and a slow brief guitar solo, followed by a smiling structure of Gothic Metal that seems really well conceived. A Doom Metal riff comes before the reappearance of the ogre and a growl. Next, headbanging keayboards and crushing drums. Wonderful is a guitar solo divided in two parts, ensued by an elegant sinuous keyboard solo. Tarja's high notes come back, later joined together by rocky drum fills that accompany the listener to the closure. Coupled with the band's first official video ("https://www.youtube.com/watch?v=Z4A5HwMOfW8"), "The Carpenter" shows a version of Nightwish that will never be seen again. As a matter of fact, not one more time will you hear the Finns as Gothic Metal as in this song. Enriched by stunning bass lines and a fantastic opening riff preceding a few electric guitar strokes together with an arpeggio, the initial part of this song is characterized by delicate mumbled vocals by Tuomas, until an acceleration features two layers of Tarja's vocals with organ notes in the background. This alternation is repeated and Tarja surprises us because she's using a lower register than usual. An annihilating Doom Metal riff changes and makes way to a flute and keys soon going solo. It is marvellous to listen to the come back of the calm structure with Tarja's voice, then a Gothic Metal riff acts as a link to the entrance of baroque keyboards. The pair of vocalists is back with the previous verse till the operistic singing is repeated like a mantra and then faded out. It is to be noted that the song contains eastern influences as to the scales and the way some instruments are played and secondly that the video misses the last chorus that is in the song. "Astral Romance" is another popular track by the Finnish heroes, which resurfaced as a remake in 2001 with Sonata Arctica's Tony. The 1997 version is begun by mid tempo Gothic Metal riffing ensued by an interlocutory fraction before Tarja's trillings, embellished by rapid keys touches. Fractured parts ensue, as well as others with Tarja shining and Tuomas singing not loud (and slightly off key in this sole case in the entire album due to the lack of depth and range in comparison to the fortissimo high notes reached by Tarja). The track becomes more intense, and the keyboards stress out the changes of vibes and more, until Gothic Metal reappears along with Tuomas' whispers (which are as good as the majority of his performance on this album) and Tarja's angelic vocal nuances. It is then time for a melodic guitar solo followed by pompous keyboards lines, which in turn are ensued by another axe solo homaging the early Iron Maiden, then a keys solo takes centre stage and finally guitar licks turn up till the abrupt emphatic closing drum chop. This composition lacks a real chorus and when Tuomas sings off key he seems similar to a pirate or Quorthon. In this composition an arpeggio, on which a second (acoustic) guitar line is added on for an instant anticipates Tarja and the caressing keys, coming just before a few magic flute parts. Tarja's vocals are diversified and sometimes overlayed, yet leaving the flutist space for a matter of seconds. The title-track is therefore a splendid ballad that represents the apex of the platter as much as "The Carpenter", thanks to the alternated arrangements of every musician, included a showy drum roll which comes back a little later longer so as to conclude the composition with the keys, faded out too. A flute on a mid tempo slightly reminding me a ball at the court of a castle as well as a hypnotic tune played in a secret tunnel of a pyramid in honour of a semi-animal deity is what is found at the beginning of "Tutankhamen". When the penetrating riff arrives reinforced by drums the mood changes but then the flute part comes back exactly like in the first moments. There's a nervous break with various staccatoes before a Symphonic Metal part. The initial fragment and the staccatoes return with Tarja who stands out effectively before bizarre Prog Metal keyboards. The guitar and rhythmic section go on alone for a while, and later on the initial part and the staccatoes are used again. The break leads to a brief virtuoso guitar solo. Then a horrorific ending arrives with the moving of a heavy slab of rock from a sarcofago. Tarja announces the resurrection of the Egyptian pharaoh and the sinister sounds in the background cease. I think it is meaningful how the band have been able to mix Folk Metal with some ancient Egyptian elements with varying percentages during the development of the song. A guitar in arpeggio and keyboards working to create a certain kind of ambience start "Nymphomaniac Fantasia", quickly blended with Tarja's whispers and 2 lines of flute. Introductory drums and keyboards full of livelihood are soon reached by drummer and keyboardist. Tarja's vocal parts in 2 layers perfectly suit the song, making it various, unique along with her thick accent. All of a sudden Pop keyboards go on a solo, then Tarja's echoed vocals are matched by drums, and then the keys go solo imitating a flute quickly; then a second layer of space keys is added on distant preluding Tarja's vocal comeback, who speaks and is replaced by an instrumental part ended by a flute solo, followed by guitar and keys that conclude hand in hand swiftly. "Know Why the Nightingale Sings" immediately kicks off with a riff and a rhythmic section intent on conveying a classic pattern of Power Metal, until they slow down halfway between Gothic and Symphonic Metal along with very heartfelt vocals courtesy of Miss Turunen. This alternated formula is reiterated with the addition of sea gulls' and sea crows' cries. Successively a break follows to connect this section to a symphonic instrumental one, later on enriched by stunning vocals by Tarja, blending with a vibrating guitar solo. In the next seconds the solo blends with the keys in the background until it disappears; it comes back and afterwards it is replaced by a piano bar-like solo. The last track of the original album, "Lappi (Lapland)", is split in 4 parts: 1. 2.Witchdrums 3.This Moment Is Eternity 4.Etiäinen. The first contains obstinate arpeggios sometimes palm-muted which a flute and Tarja's vocals in Finnish are added on roughly during the middle of the song. The closure is all entrusted with a guitar arpeggio alone with keyboards intrusions leading to the beginning of the second part. The second part creates a certain epic atmosphere due to the drumming but also a magic one due to brief keyboards touches, being an instrumental placed to prepare for the third fragment. This one contains powerful drums and is characterized by 2 layers of dreaming vocals, both performed by Tarja, while the drumming becomes slow and the keys glacial. The following riff decidedly belongs to the Gothic Metal realm, then there is a delicate change delivered by a refined piano, melancholic vocals, a flute solo and a spoken structure by Tarja preceding the fourth fraction. The fourth again recurs to her soft vocals, while an arpeggio and keys work in turns or unison, the keyboards mixed lower. All this leaves space to a Spanish-styled acoustic guitar solo. Then Tarja is back to prove her operistic skills one more time almost until the end. The conclusion is obtained by a last acoustic string stroke and the last keyboards touch. "Lappi"says a lot about Tuomas' mind back then when he visited that untouched, unruined wilderness. You could still drink pure water from a pond, eat clean wilberries from a swamp, feel the smallness in the tundra, hear the silence or wolves' howling at night, enjoy the northern lights during an almost 6-month night, admire the touch of nature's best by taking pics of white owls, foxes, swans, meet natives herding their reindeers, ride a sledge dragged by a pair of huskies, go to Santa Claus city near the Arctic Circle, and so forth. Try listening to it when it's snowing and the effect will be amplified. In the first seconds of the first bonus track "A Return to the Sea" an enchanted pure water source is the basis for the hypnotic keyboards and vocals that arrive quite early. They take us by hand to a fairy realm where drums and keys rule the number, risen high by a handful of Gothic Metal guitar strokes. Nice are the airy keys sounds before the piano solo starting just a while earlier than when Tarja stops singing. There is now time for a Hard Rock guitar solo that connects to Tarja's comeback, and then it's showtime for an even more blazing Hard Rock axe solo when she stops singing again. Suddenly keys, bass and drums take the spotlight until only dreamy keyboards touches and sounds remain. The rhythmic section and Tarja return, while the guitar has disappeared. Tarja keeps vocalizing and then the keys fade out quickly. Here the 3 tracks from the demo start and they are all acoustic: "Nightwish" begins with menacing keys, then 2 acoustic guitars enter and dialogue with each other, until Tarja arrives, later on helped by Medieval keys. This set is repeated until way is made for a flute solo and seducing female spoken section. Then the piano, flute and Tarja's whispered singing lead to the end. Pity for Tarja's absurdly wrong pronunciation of the title track and band's name! Delicate keys, and soon after Tarja again with exquisite acosutic guitar lines open "The Forever Moments", where additional Tarja's distant operistic vocals appear frequently after. A moment of silence and the guitar speeds up and so does Tarja as necessary, then the keys arrive so as to create a bucolic and serene feeling before intensifying. Next, a romantic piano solo displays 3 different facades in the finishing part of the song. "Etiäinen" begins with Tuomas' disquieting whispers, but soon Tarja comes back with her angelic vocals together with the acoustic guitar. And when the Spanish-influenced guitar goes solo it feels like floating in the air. Tarja comes back and repeats her initial line higher and more powerful than in the first part. It really seems she is pushing herself to the limit, leaving the guitar and a faint veil of keys the task of concluding the track (and the demo, and in this case the album). | ||||||||
(Nightwish signing session) |
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Value |
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Available versions |
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Besides the original vinyl and CD prints, and the following dozens of versions, this is the most complete version I have ever put my eyes onto and the one I prefer. There also exist a box set version including "Oceanborn". |
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Conclusion |
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No matter what some say and Tuomas not liking his vocals, Nightwish were already mature and their debut is a remarkable effort whose official release was a correct choice. It is a quite dividing album and I'll explain why right now. I am aware I have not respected the chronology of the releases having started my approach with Nightwish from their second full-length because years ago I was advised not to purchase their debut. I now realize that we should not listen to people blindly even if they have been in a field for a long time because we are all different and we perceive and judge things differently. These songs are all without exceptions killer tunes for eternity and beg you to replay them again and again. On several occasions you can find some of the finest harmonies Nightwish have ever composed on this album, therefore I understand why some people repute it their best platter. Please take notice that this is an album full of Metal and Folk, and acoustic parts, with less synthesizer than the combo's future records. The songs on this debut are very guitar-oriented, and the riffs are slower, longer and crunchier than the ones Nightwish composed later, all contributes to making it a very solid album that will not be repeated again. Finally and most importantly, Tarja has never been so dramatic as on "Angels Fall First", and her operatic chops could really be excerpted from an aria of Puccini or Verdi, or be stuck into some Wagner's parts with the utmost smoothness. Some musicians make 8 albums and never come close to the emotional impact of some episodes and instants of this masterpiece. Nightwish's first platter is a vivid representation of how Symphonic and Gothic Metal were made in the 90s, sometimes in a rhapsodical way, on other occasions by paying a heavy tribute to the manner some soundtracks were conceived. |
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MARKUS GANZHERRLICH - April, 1st, 2024 |
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Contacts: E-mail:
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