Album Review: Nightwish - Once
Reviewed by CJ Claesson
The history and fandom surrounding Nightwish is as complex or maybe even more so than 90s Scandinavian black metal. Even the same themes are found in both camps: intrigues among members, profoundly different eras and die-hard followers who will shove their opinion of what’s ‘true’ down your throat. However, knowing the history of the band really does intensify the songs and lyrics and adds to the dramatic and emotional soundscapes metal-Mozart Tuomas Holopainen creates.
‘Once’ was a pivotal release by the symphonic metallers Nightwish. Their first release ‘Angels Fall First’ in 1997 was received with mixed reviews and listening back to it - it’s clear that Tuomas’ grandiose musical ideas weren't captured properly. He needed to harness the wild force that was Nightwish and a step forward was ‘Oceanborn’ released in 1998. That album certainly contained some deep shadows and brilliant highlights like ‘Sleeping Sun’ and ‘Nightquest’ - feel free to decide which category they belong to - but how on earth did ‘Nightquest’ make the cut? The overall clumsy production of the album definitely didn’t contribute to the experience. However, as everyone was still rejoicing over surviving Y2K, Nightwish released their third studio album ‘Wishmaster’. On this release it’s clear that mastermind Tuomas had started to tame the dynamism and force of Nightwish. Soprano and metal queen Tarja Turunen never sounded better and her voice blends perfectly in the push and pull between light and darkness created by increasingly heavier and at the same time delicate musical arrangements. The title track ‘Wishmaster’ is an incredible song and has remained one of the band’s greatest hits. The power metal essence continued on ‘Century Child’ from 2004. At the same time, Tuomas’ arrangements became increasingly ethereal and symphonic - oh and of course Marko Hietala replaced Sami Vänskä on the bass. Normally, changing the bassist would have little overall impact on a band (I know, there are exceptions, but still…) but Marko also, to my dismay, didn’t only bring bass chords but also his vocal chords with him. To give him a rather big piece of the vocal cake was and is celebrated by many fans as his voice creates a Beauty and the Beast-ambience together with Tarja’s performance and adds to the theatrics of the band. I can’t stand it. I might not be a vocal coach, but I always get the ‘drunk uncle at the wedding singing karaoke’-vibe from his vocal performances. And believe me, I’ve tried many times to appreciate it. Can’t do it. Moving on. ‘Century Child’ was certified with double platinum in Finland and sold 350,000 copies world-wide during 2002 and 2003, cementing Nightwish as symphonic power metal titans.
Four years into the new millennium Nightwish released their magnus opus ‘Once’ and nothing would ever be the same for the Finnish quintet. Having previously used a Finnish orchestra on ‘Century Child’ - Tuomas et al. found themselves in a situation where no expenses were spared. Together with the eminent London Philharmonic Orchestra (LPO) the band set out to change the landscape of symphonic metal and by doing so also managed to record the most expensive record in Finnish history at that point (they later beat that record themselves only three years later with ‘Dark Passion Play’).
17 years have passed since the release of ‘Once’ and we’re being blessed with a remastered version of the album. Undeniably a lot has transpired in Camp Nightwish during this time. Tarja suddenly got sacked via a letter from the band after playing the final show of the 130 date ‘Once’ tour (I’m pretty sure the news of Tarja’s dismissal was labelled a national emergency in Finland), Anette Olzon joined the band, Anette got sacked and was replaced by Floor Jansen, drummer Jukka had to quit due to health reasons, four full-length albums have been released and now Marko Hietala has also left the band.
After all the intrigue, especially regarding Tarja, and a new lineup, why would they release a remastered version of ‘Once’? My hypothesis is that they know it’s the best album they have ever released, it’s a masterpiece and it deserves to have a little fancy engineering elbow grease and be rediscovered and re-appreciated by the masses. It’s no secret I love this record. Is every song 10/10 and gold stars all around? No. But that’s not necessary for it to still be considered perfection in my eyes. What does Nightwish have that similar acts Within Temptation, Epica, Lacuna Coil etc. don’t have? For starters they didn’t have the LPO, but more importantly they didn’t have Tuomas Holopainen. He managed to create an extremely homogeneous record where each song is packed with individuality, dramatic excellence and musical brilliance. It’s conceptually airtight with world class arrangements which continuously generates goosebump inducing moments during every listen.
‘Once’ has been considered by many to be a step towards a more commercial and approachable Nightwish. I’m perplexed by that notion. If you decide to cherry pick then yes - songs like ‘Wish I Had an Angel’ and ‘Nemo’ are more radio-friendly than for example ‘End Of All Hope’ or ‘Wishmaster’ but overall I fail to recognise the commercial element. The record opens with the incredibly catchy and heavy ‘Dark Chest Of Wonder’ - and all you can do is sit back and be swept away into the dreamlike universe created by the forceful Finns. Question, is it just me or does the second intro riff sound almost exactly the same as ‘Buried Alive By Love’ by HIM? To be fair, ‘Love Metal’ was released over a year prior to ‘Once’ so maybe Tuomas was inspired by his countrymen. Nothing wrong with that! ‘Dark Chest Of Wonder’ also contains the beefiest breakdown in Nightwish history which is a nice bonus!
After that incredible start, Nightwish goes a bit more electronic in ‘Wish I Had an Angel’. For the first time on the album we are exposed to Marko’s vocals and if it were up to me, I would’ve let Tarja do the whole song. An extended ethereal arrangement for the chorus instead of Marko’s semi-growl? No? Just me? Fine. I do think it is a bit of a filler song due to the electronic aspect which ever so slightly shatters the ambience which flows throughout the record. However, redemption is nigh as Tuomas’ fingers begin to dance on the piano keys on ‘Nemo’. Even though the band already had a steady following, ‘Nemo’ is still considered their breakthrough song. I remember the big-budget music video playing during every Headbanger’s Ball and its bombastic chorus and hauntingly beautiful lyrics stuck after the first listen. Whatever music you’re into - you cannot fault ‘Nemo’ and its composition. From the serene start, the feather light chorus to the captivating outro - it’s perfection. Radio-friendly or not.
They pick up the pace on the pulse raising power metal track ‘Planet Hell’ and Nightwish is in full battle mode. Chugging guitars are racing with the ferocious double kick drumming by Jukka Nevalainen and Tuomas’ delicate synth is carelessly dancing on top. The ecstacy and emotion is heightened by the faultless performance by the orchestra. The push and pull between good and evil in the song is created by the vocals where Tarja and Marko are dueling each other. This is an example where Marko’s voice adds to the overall experience and theme of the song. Having said that, I still think Tarja could’ve created that theatracy by herself, hehe.
Every Nightwish fan probably knows the story behind the emotional ballad ‘Creek Mary’s Blood’. It’s a sad depiction of the Native Americans being robbed of their land by the white man. The song stands out as it includes indigenous flute playing and a poem read by John Two-Hawks in Lakota spoken by the Lakota people of the indigenous Sioux tribe. This is where Tuomas showcases his conceptual strength and he manages to depict an anguished emotion whilst still producing a good song with an important message.
The somber vibe is carried over to ‘The Siren’ which with its mystical atmosphere presents Tarja as the enchantress of the sea, mesmerizing the seaman Marko. The track is surprisingly captivating with its comparatively few lines together with the eerie composition. Perhaps it’s not the song you’d throw on first during a road trip - but there is a time and a place for everything.
After being washed over by melancholy for little over twelve minutes, the band once again adds power to their metal on ‘Dead Gardens’ and ‘Romanticide’. The former having the worst ending of any Nightwish song I know of and the latter probably being one of their heaviest tracks ever (excluding later releases). Both great tracks indeed, but what comes next makes ‘Once’ the 10/10 album it is. Ladies and gentlemen, please give a warm welcome to ‘Ghost Love Score’.
The song is a masterclass in dramaturgical music composition, taking the listener on the most exhilarating journey through the magical landscape which unfolds as the song evolves. The synergy between the band and the impeccable arrangement and performance by the orchestra is enchanting. I’ve seen comments about how this song could’ve been guitarist Emppu Vuorinen’s time to shine by delivering a ‘Stairway To Heaven’-esque solo, but I wholeheartedly disagree. His solo, following the vocal melody, is way more effective in the way it enriches the song without stealing the spotlight. Tarja’s vocal performance and the way she delivers the powerful lyrics is simply astonishing throughout and the way her voice works together with the choir in the chorus gets me every time. Every instrument from the band and the choir, including Tarja’s voice and not least Marko’s bass, all get enough breathing room from start to finish; again creating a dreamlike ambience of astronomical proportions. The band does not hold back one bit on ‘Ghost Love Score’ and the crescendo is nothing short of perfect. This is paramount Nightwish and in my mind nothing they do will ever top it. My fall will be for ‘Ghost Love Score’.
After such an incredible track, the album could’ve ended in my opinion, but two tracks remain. The tranquil ‘Kuolema tekee taiteilijan’ (‘Death Makes An Artist’ in Finnish) which is performed in their native tongue and ‘Higher Than Hope’ which is a beautiful tribute to Holopainen’s good friend Marc Brueland who passed away from cancer in 2003.
So, what about the album being remastered? For a guy who thinks the sound on ‘Thy Winter Kingdom’ by Behemoth is brilliant and after years of listening to bootlegs, I honestly cannot tell the difference between the original and the remastered version of ‘Once’. Maybe it’s a bit beefier? I think you really have to be an audiophile to notice a big difference - but that’s not me. I just really enjoy listening to the songs (which already had a great production) over and over again - and I’m thrilled the band decided to shine some extra light on such an important record for them as a band and for symphonic metal in general. It’s sad that ‘Once’ is the last studio album featuring Tarja on the microphone - but what a record to end on!
Tuomas Holopainen is a bona fide musical genius. ‘Nuff said.
Remastered version of ‘Once’ by Nightwish out on August 6th!
