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Nightwish  

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Nightwish are a Finnish metal band, who infuse their heavy-hitting sound with symphonic cutaways and choral backing vocals. They are known as much for their gaudy aesthetic as for their progressive, new age fusion of neoclassical and power metal.

Onstage, they adorn themselves with satin and red velvet, black, shin-length leather coats and silver trinkets, mascara and long, warlock-like locks.

Vocalist and keyboard player, Thomas Holopainen is frequently seen in his cabaret-esque top hat, and vocalist/bassist Marco Hietala is equally impressive, with a meticulously maintained double-platted beard.

Lead female vocalist, Floor Jansen, is partial to the odd bit of studded leather and, being classically trained as a soprano at the Dutch Rock Academy, can belt out operatic wails and death growls interchangeably.

Nightwish are some of the pioneers of the symphonic metal sub-genre, alongside Sweden’s Therion, the Netherlands’ Epica and Norway’s Theatre of Tragedy. They formed back in 1996 and lay the foundation for a new, classically-gilt sound that would take off in Scandinavia and across Europe in the 90s and into the 2000s with a new swathe of Nightwish-inspired bands appearing including the likes of Epica out of the Netherlands, Haggard out of Germany and Norwegian Leaves’ Eyes.

Typically of symphonic metal, their influences are expansive and literary, ranging from cinematic musical scores to nursery rhymes and fantasy novels by CS Lewis, JRR Tolkein and Steven King.

Their songwriting draws strongly on fantastical and mythological themes. “Elvenpath” off their debut, Angels Fall First (1997), and “Wishmaster”, the title track of their 2000 album contain an array of references to Tolkien and other fantasy writers, the latter also taking its title from the 1997 horror film directed by Robert Kurtzman and produced by Wes Craven. “FantasMic”, also off “Wishmaster”, is a tribute to Walt Disney and the animations to come out of Walt Disney Studios, amongst the broad list of references being Fantasia, The Little Mermaid, Snow White, The Lion King and Mulan, and the classic Mickey Mouse, Scrooge McDuck and Donald Duck.

Other songs touch on darker, perhaps more mature, themes. “She is My Sin” is about frustrated desire and lust, “The Kinslayer” refers to the 1999 Columbine High School massacre and “10th Man Down” deals with civil war.

Lyrically rich, classically trained and nerdily fulfilled, for those that aren’t diehard fans, Nightwish are much to be discovered. They are luminaries of symphonic metal with an impressive gambit of intriguing songs.

Live reviews

When seeing Nightwish live, you are expecting to see the classic female vocals accompanied by the sweet gentle sounds of the orchestra with the soft piano notes in contrast with the heavily distorted guitars and the fast metal drum beats. The sound of all these instruments combined together creates the gothic atmosphere that everyone sees at a Nightwish concert. Strobe lighting with the fire shooting up and down followed by all the firework explosions is certain as the artists are trying to get the fans energetic and fired up ready for a spectacular show ahead of them. When going to a symphonic metal concert, judging by what I have seen of Epica, Withtin Temptation and Nightwish, the fans are energetically jumping around really enjoying themselves and learning to appreciate the music. Nightwish performs symphonic metal with grandiose female vocals. The string instruments and keyboard create the gothic atmosphere. Their music is known to be complex and layered and their approach is theatrical and operatic. It is “always very melodic with memorable choruses” says critic Chad Bowar. The music of Nightwish had been distinguished by the operatic vocals of Tarja Turunen but when she left Nightwish, they left behind their signature soprano or operatic sound. Now their style of vocals have changed as heard by their current vocalist Floor Jansen. Even though Nightwish’s music is centred around a female lead vocalist, they have done some form of variation by featuring some male vocals on their albums throughout all of their history. Something interesting about the experience I had at the Wacken Open Air Festival 2013 was that there was one unusual part where the bassist spoke about a letter that he or the band received about their anniversary and that they said something funny about that they liked sausages meaning romanticism because they were in Germany. The show itself was just simply outstanding and the highlight of the show was Floor Jansen’s supreme vocals that blew the roof off the stage. It was not just Jansen’s incredible singing ability but the entire line up and the way that the band played was astonishing and really rocked the place. They played with confidence and desire to impress the crowd and they succeeded in doing so with style and perfection. You could just see that they were true professionals with tons of experience when it came to playing with enormous crowds. All 82,000 fans would go ballistic whenever the bassist joined in with the singing which proved to be a great combination. They really knew how to get the fans up on their feet and scream and shout, especially with the melodies that they played. They were so beautiful and breath-taking that everyone’s jaws dropped and they were speechless by the end of the show including me because they were that amazing. Considering that this was my first time ever at a metal festival outside of England, this was an extremely unforgettable first experience and it will live long in the memory. I had always dreamed of seeing Nightwish ever since I first listened to them and this will go down as one of the best concerts that I have ever been to in my life. I really recommend other fans that have never seen them live before to check them out because they will never fail to impress with music of such quality. Symphonic metal lovers will all be amazed by how much of a superb show Nightwish can perform and how Floor Jansen’s vocals flatten all of you with shock of how talented and unbelievably awesome she is at singing. When the string instruments and the keyboard join in, it creates that marvellous gothic atmosphere which all gothic or symphonic metal lovers will adore. The entire ensemble itself is just a master class and they play so mouth wateringly well that it will wow anyone during a live concert of theirs. The special effects will add the extra boost of energy to the fans. The band are so good at doing what the special effects can do that no one could ignore their encouragement, it is almost like an order but a pleasant one.

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In a way, it’s important to go to a Nightwish concert with a different frame of mind and a very different set of expectations to what one would normally go to a gig with. When one goes to a rock show they’re usually expecting an event that prioritises atmosphere over a note-perfect recreation over what was on the record. This isn’t the case with Finland’s finest and countless other symphonic metal bands, and this isn’t because they’re playing it safe or that they don’t care about playing live, it means quite the opposite. The music that they have on the record is so intense, complex, and epic in the traditional sense of the word, that playing it live exactly as it is on record makes what was on the record sound even more exciting. They need a choir for some songs? They’ll get a choir for some songs. There’s a famous actor reading a monologue during the outro of their latest album opener? They’ll film the actor reading it and play it on the massive screens they have. They have moments of galloping, film-score inspired excitement, with dazzling heavy metal solos, operatic vocals and lyrics about battles between orcs and men? They’ll be perfectly recreated live, except louder and with pyrotechnics, and pyrotechnics make everything better. Yes, it sounds similar to the record, but that’s because, unlike The Libertines, these cats can actually play their songs. So no, a Nightwish gig is not your average rock show, in fact it has more in common with a Classical music concert, where a decent proportion of the show is spent marvelling at the technical ability of the people on stage. Of course, what’s also encouraged at a Nightwish show is singing, dancing, moshing and pyrotechnics, and all of those things, as we discussed earlier, make everything better. Even if you’re not a fan of symphonic metal, Nightwish are a band that anyone who likes the idea of music with an outrageous sense of scale can spend an evening with and love every moment of it.

I have experienced a lot of metal shows over the years. Experiencing Nightwish on their North American tour vaulted them near the top of my list. Their musicianship, stage presence, high energy, and dedication to the highest caliber audience experience was on full display.

They did several songs of the new album, Endless Forms Most Beautiful and several more from Imaginaerum. The Buffalo, NY crowd got warmed up by Delain and Sabaton, so by the time Nightwish took the stage the audience was fully engaged.

Shows at small venues like the Town Ballroom in Buffalo provide the setting for great sound when done right. Nightwish did the sound right. Floor's vocals were powerful, soaring; Tuomas's keyboards provide so much content in the music you may not believe it until experienced in person. Marco and Empuu's bass and guitars drive, grind, flourish, embellish, and move the musical flow. Kai's drumwork is outstanding and simply has to be seen and felt to be believed. Of course, Troy's mixture of pipes and whistles provide perfect punctuation to the driving beat.

One thing you feel is how truly heavy these guys are. Their performance epitomizes the best of what symphonic metal can be. Their songs have passages of power cords and backbeat that are relentless. Combine that with a theatrical flair, feminine lead vocals, and a tightness to envy and you've got something well worth the price of admission. Two solid hours of metal bliss.

See, hear, and feel Nightwish first hand. Make the trip. You will not be disappointed.

I last saw Nightwish in 2005 in what turned out to be original singer Tarja Turunen's last tour. Her replacement, Annette Olsen never really clicked with me although the two albums she recorded with them are pretty good. however that has all changed for me with the arrival of Floor Jansen, someone I am familiar with from one of her previous bands, After Forever.

From the fist moment Nightwish started their show at a sold-out Wembley Arena it was obvious this was going to be a very special night. From the opening song 'Shudder Before the Beautiful' to the closing 'The Greatest Show on Earth', which they performed the first three parts complete with an appearance from Professor Richard Dawkins who contributes spoken word on the album, it was simply stunning.

A very impressive, and fully utilised, moving light show was supplemented with screens, fireworks, and flames, to provide a spectacular show. Everyone in the band looked to be having the time of their lives, always something I look for as a band "going through the motions" is always easy to spot, with great interaction between them and the crowd.

Personal highlights for me were 'Ghost Love Score' and 'The Poet And The Pendulum' but overall it was as near to a perfect gig as I have ever seen.

-1 out of 10.

They changed the start time some weeks before the gig so that meant I couldn't make it in time and missed Amorphis.

Next up, despite the tickets saying we could take bottles of water in, the door staff insisted that we remove the lids from our water bottles. We had to carry two open water bottles around the arena. I can only imagine what imaginary "threat" this measure was designed to counter.

The sound for Arch Enemy was absolutely terrible. All I could hear (and feel!) was a smashing low frequency rumble. All the detail, even the kick pedal on drums, was drowned out. Vocals and guitar never had a chance of being heard. I've never heard such a complete and total fuckup on sound. I'd have walked out of it wasn't for

Nightwish's performance was good but the sound still wasn't great - lots of bass and ear splittingly loud. It's not like I'm a stranger to loud gigs but this was something else. Ear plugs helped but it was still _really_ loud. It was much better than for Arch Enemy though, so it didn't completely spoil the performance.

Overall, disappointed. I had the cheaper tickets (£40 a pop) and I'll be hassling Gigantic for a refund. I can only imagine what the £110 ticket holders were thinking.

It was my first time watching Nightwish and it will definitely not be the last! What a show! What a feeling! What an experience!

While I did not know half the songs, because I've mostly heard old Nightwish material, back form when I was 15, 16 and 17, I was not the least disappointed, because the sound - the voice - that Nightwish creates together, is simply amazing. I felt like I was in a fantasy world, both happy, sad and hopeful, and it was a beautiful combination. It wasn't too slow, or fast, just a perfect mix of powerful songs, amazing fire effects, strong pictures, wonderful animation sprinkled with hope for our world and the people living here.

When they played some of my favourites, Wishmaster and Ghost Love Score, I got so happy because they mean a lot to me, and because I recognize them. And when they played My Walden, Shudder Before The Beautiful and Storytime, I was equally enchanted, even though I didn't know these songs. Because apparently, that is something Nightwish masters. And they do it very, very well.

Nightwish, a symphonic rock experience as opposed to a simple gig. The band are one of Finland's most internationally celebrated exports as they have achieved commercial success across Europe. They also have a cult-like fan base in the UK and during their last tour the demand to see them was huge.

Beginning with an introduction by the classical Hans Zimmer, the tone is set and the audience applaud loudly as they walk onstage and take to the vast array of instruments. The classical and the conventional instruments sit well together and blend wonderfully during a melange of 'Storytime' and 'Dark Chest of Wonders'.

The audience reacts in different ways as at parts you feel like you are at a rock show and others it is like watching a classical composer. The band build a great rapport with the audience and put them at ease so the applause come more naturally during 'Ghost River' and 'Ever Dream'. By the final dreamy tones of 'Last Ride of the Day', the audience are in total awe of these talented instrumentalists.

This is the kind o concert the dreams are made of. First a support band I wanted to see as much as Nightwish: Amorphis. What I great show! Then other support band I didn't know that well because their sound is not my style but that gave a such great show that I became a fan. That band is Arch Enemy and gave a true great show. Even if much of the crowd didn't seem to understand what was going on since they were more into more slow bands.

And then Nightwish with a great sound. Not the kind of sound you have in the albuns but a true powerful and 100% metal sound, the kind of sound that is headbangable to the most.

In the end the music, the pyro, the whole atmosphere gave us a concert to remember, and to forget the less great albuns from other times. Sadly some old songs were left out of the set, mainly the hit Wishmaster.

I've been hanging out to see these guys for years. I missed the last time they were in Melbourne and had been kicking myself ever since. I even wrote to them in early 2014 to ask when they were coming back. To my surprise they answered and said to sit tight and they'd definitely be back. The wait was worth it. Almost 2 hours straight through, no bullshit encore and a kick-ass show from start to finish. The band were obviously having a great time and were equally enthusiastic to make sure everyone in the crowd did the same. It's a pity the Melbourne noise curfew meant they had to stop on the button of 11PM. Now I just have to wait til they're back again. One last thing: You can't review this show without giving the support band Taberah a huge wrap too. If they're playing in your neck of the woods don't miss them.

Seen last night in Toulouse. Wonderful show! Perfectly played, great sound but most of all, very thoughtful and supportive.

They even played an older song as a tribute to the enduring spirit we should stick to. All the song had a different meaning last night and the leitmotiv "We were here" meant far more than originally intended.

The show was intense but fun also. Musicians were obviously pleased to play for us and were enjoying it all the way. Emppu was playing tricks on everyone, even undoing the shoe laces of the drummer in the end.

In short: great show, musically excellent, great pyros and very emotional. Every thing you wish for in a show.

note: Floor is wonderful.

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New album Yesterwynde out September 20 th

"Yesterwynde" - Out September 20, 2024

"Yesterwynde is a fantastical voyage through time, memory, and the better angels of human nature. Three years in the making, we`re thrilled beyond words to soon share our tenth album with the world!"

1. Yesterwynde 2. An Ocean Of Strange Islands 3. The Antikythera Mechanism 4. The Day Of... 5. Perfume Of The Timeless 6. Sway 7. The Children Of 'Ata 8. Something Whispered Follow Me 9. Spider Silk 10. Hiraeth 11. The Weave 12. Lanternlight

“Perfume Of The Timeless”

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Nightwish announces new album 'Yesterwynde'

Nightwish Re-Sign with NUCLEAR BLAST

Nightwish shares 'Tribal' live video!

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20. September 2024

"ich bin noch nicht fertig mit nightwish".

Nach den Pandemiejahren tobt wieder das Tourleben. Trotzdem haben sich Nightwish laut eigener Aussage dazu entschlossen, " auf unbestimmte Zeit " keine Liveshows zu geben. Dafür beglückt die Band ihre Fans mit einem neuen Bombastwerk namens "Yesterwynde".

Ihr neues Album" Yesterwynde ", für das Nightwish wieder einmal neben weiteren Studios die Londoner Abbey Road Studios aufsuchten, entstand zusammen mit einem über 70-köpfigen Orchester sowie drei verschiedenen Chören. Wie der Entstehungsprozess verlief und was es über den neuen Bassisten Jukka Koskinen ( Wintersun ), der 2022 Marko Hietala nach seinem Ausstieg ersetzte, und über zukünftige Projekte zu berichten gibt, darüber habe ich mich mit Mastermind Tuomas Holopainen unterhalten, als er im Berliner Mandala Hotel für exklusive Interviews zur Verfügung stand.

Wie geht es dir? Hattest du eine gute Anreise?

Es läuft großartig. Absolut wunderbar. Ich werde hier von der Plattenfirma verwöhnt. Sie hat mir eine Suite und einen Flug in der Business Class spendiert und alles, was ich eigentlich nicht brauche, aber es ist gut, verwöhnt zu werden. Ich fühle mich gut.

Kommen wir auf das neue Album zu sprechen. Das letzte, " Human. :II: Nature ", beinhaltete sehr viele folkige Klänge. "Yesterwynde" empfinde ich dagegen wieder als etwas härter und schwerer. War es eine bewusste Entscheidung, die Platte wieder etwas härter zu gestalten, oder hat sich das während des Entstehungsprozesses einfach so ergeben?

Reiner Zufall. Wir haben das nie angestrebt. Ich meine, das war schon immer so bei jedem einzelnen Album, das wir gemacht haben. Wir denken nie im Voraus darüber nach, wie das Album sein soll. Wir sammeln einfach die Geschichten, die wir erzählen wollen, malen sie mit Musik aus und sehen dann, wie sie sich entwickeln. Ich stimme zu, dass dieses Album heavier ist als das vorherige, aber andererseits haben mir gestern ein paar Leute gesagt, dass dieses Album nicht sehr hart ist. Ich denke, es ist ziemlich leicht. Warum ist das so? Also, die Leute hören "Yesterwynde" auf sehr unterschiedliche Weise, was ich sehr interessant finde.

Erkläre mir bitte, was es mit dem Albumtitel "Yesterwynde" auf sich hat.

"Yesterwynde" ist ein erfundenes Wort. Bis zu diesem Album existierte es nicht in der englischen Sprache. Wir mussten uns ein neues Wort einfallen lassen, um ein bestimmtes Gefühl zu beschreiben. Ein Gefühl, für das es bisher kein Wort gibt.

"Mich inspirieren Dinge, die ich lese oder in einem Dokumentarfilm sehe."

"An Ocean Of Strange Islands" finde ich ein ziemlich interessantes, komplexes Stück, bei dem die Reise ständig woanders hinführt. Kannst du mir die Grundidee dieses Stückes verraten?

In dem Lied geht es darum, dass wir im Laufe unseres Lebens verschiedene Menschen und Persönlichkeiten treffen. Mit einigen der Menschen, die man trifft, ist man sofort verbunden. Sie werden deine guten Freunde. Manche Menschen werden sogar zu deinen Liebhabern. Manche Leute kommen einfach vorbei, man grüßt sie, und manche Leute will man nie wieder sehen. Wir alle kennen diese Geschichte.

Wir treffen so viele Menschen, während wir leben und egal, was passiert, man schätzt diese Kontakte, diese Momente der Begegnung immer. Ich habe dich noch nie getroffen und werde dich vielleicht auch nie wieder treffen, aber ich bin trotzdem froh, dass du hierher gekommen bist und wir diesen Plausch haben. Du bist also eine weitere Insel in diesem seltsamen Ozean.

Auf dem Album verarbeitet ihr Themen wie den Antikythera Mechanismus ("The Antikythera Mechanism") oder eine Geschichte von einer Gruppe von Teenagern, die Schiffbruch erlitt und auf der tonganischen Insel Ata strandete ("The Children Of 'Ata"). Wie findest du die Inspiration für deine Texte? Kann man sich das so vorstellen, dass du über eine Geschichte im Netz stolperst und dann gleich das Bedürfnis hast, einen Text darüber zu schreiben?

In diesem Fall nicht online. Ich habe über den Antikythera Mechanismus in einem finnischen Wissenschaftsmagazin gelesen. Ich wusste vorher nichts darüber. Ich war so fasziniert davon, dass ich ein Musikstück darüber schreiben musste. Über die Kinder von Ata habe ich in einem Buch gelesen, einem Sachbuch namens "Humankind" von Rutger Bregman. Und ich dachte mir, ich habe noch nie von dieser Geschichte über diese Kinder gehört, und sie ist so wunderschön. Wir müssen sie in die Welt bringen.

Also ja, oft lasse ich mich von Dingen inspirieren, die ich lese oder in einem Dokumentarfilm sehe oder was auch immer.

Für "The Children Of 'Ata" hast du auch einen Chor gewinnen können, der sich aus einheimischen Tonganern zusammensetzt. Erzähl mir mehr über die Zusammenarbeit.

Nun, da der Song auf Ata basiert, einer Insel, die zu Tonga gehört, dachte ich, es wäre toll, etwas von der Atmosphäre des südlichen Pazifiks in den Song einfließen zu lassen. Und dann haben wir uns auf die Suche gemacht, ob es in London, wo wir den Chor aufgenommen haben, einheimische tonganische Sängerinnen und Sänger gibt. Und wir fanden fünf Leute, drei Jungs und zwei Mädchen. Und sie kamen ins Studio und haben das gemacht.

Das hat den Song auf eine ganz andere Ebene gehoben, denn wenn der Song beginnt und man dieses tonganische Gebet hört, das von Hanalee, eine der Solistinnen, gesungen wird, ist man sofort im Südpazifik angekommen. Und es ist einfach wunderschön.

Über tausend Takes von Orchestern, Chören und besonderen Gästen entstanden in den Londoner Abbey Road Studios. Hast du beim Schreiben eine genaue Vorstellung davon, wie ein Song am Ende genau klingen könnte, oder kommt es vor, dass ein Song durch die Zusammenarbeit mit klassisch ausgebildeten Musikern auch mal in eine ganz andere Richtung geht als das, was du zunächst angestrebt hattest?

Es geht nie in eine ganz andere Richtung, nicht bloß, um den Gesamtsound zu verbessern. Außerdem haben wir immer einen Arrangeur für das Orchester. Dieses Mal war es eine Person namens James Shearman. Und der kam mit seinen eigenen Ideen für die Arrangements. Das hat einige der Songs, einige Teile, in eine etwas andere Richtung gebracht als das, was wir im Sinn hatten. Das bereichert einfach den Song, aber es führt ihn nie völlig weg von dem, was wir ursprünglich im Sinn hatten.

"Jukka Koskinen ist der geerdetste Mensch, den ich je getroffen habe."

Du konntest die Songs schon " im Zuge der Pandemie " fertigstellen. Würdest du sagen, dass die Pandemie den kreativen Prozess befördert hat?

Zumindest hatten wir die Zeit dazu. Ich meine, wir sollten eigentlich nicht so früh mit dem Album anfangen. Aber weil COVID alle unsere Tourneen zunichte gemacht hat, gab es nichts zu tun. Plötzlich hatten wir jahrelang Zeit. Ich dachte, wir könnten diese Zeit auch nutzen, um mit dem Schreiben für das nächste Album zu beginnen.

Du betrachtest das Album als eine " natürliche Weiterführung von "Human. :II: Nature. ". Inwieweit knüpft die Platte für dich an den Vorgänger an?

Ja, das stimmt, ich meine, es bewegt sich im selben Fahrwasser wie "Human. :II: Nature." und das Album davor, " Endless Forms Most Beautiful ". Zusammen bilden sie also eine Art Trilogie. Eine Trilogie, die den Menschen, die Wissenschaft, die Existenz zelebriert.

Mittlerweile hat Jukka Koskinen von Wintersun nach Marko Hietalas Ausstieg den Posten am Bass inne. Wie war es, mit Jukka erstmalig im Studio zusammenzuarbeiten?

Jukka ist der umgänglichste und geerdetste Mensch, den ich je getroffen habe. Ich meine, ich habe ihn noch nie verärgert, wütend oder ängstlich gesehen. Er ist immer ruhig, egal was auf einen zukommt. Nun, Troy ist auch so ziemlich genau so. Aber diese erdenden Persönlichkeiten in einer Band zu haben, ist äußerst wichtig, denn ich neige dazu, mich über bestimmte Dinge aufzuregen und zu ärgern. Sie sind also immer da, um mich zu beruhigen. Und als Musiker ist er einfach spitze. Ein unglaublicher Bassist. Er passt also perfekt für die Band.

Ihr habt angekündigt, in naher Zukunft, keine Liveshows mehr geben zu wollen, habt aber euren Vertrag mit Nuclear Blast erneuert. Betrachtest du die Live-Pause auch als eine Chance, neue Kreativität für weitere Projekte zu tanken?

Kreativität war noch nie das Problem. Ich meine, ich arbeite bereits am nächsten Auri -Album, das nächstes Jahr herauskommen wird. Eine andere Band, die ich habe. Aber diese Pause muss einfach jetzt gemacht werden, damit die Band eine Zukunft hat. Das ist so ziemlich alles, was ich dazu sagen kann.

Ihr habt mit der Platte einen Abschluss für eine Trilogie gefunden, die mit "Endless Forms Most Beautiful", dem ersten Album mit Floor, begonnen hatte. Hast du schon eine genaue Vorstellung, in welche Richtung es mit Nightwish in Zukunft weitergehen könnte oder schaust du einfach, was die Zeit so bringt?

Ich werde einfach abwarten, was die Zeit bringt. Vom nächsten Nightwish-Album habe ich noch absolut keine Ahnung. Alles, was ich sagen kann, ist, dass es ein weiteres geben wird und vielleicht noch eines. Ich bin definitiv noch nicht fertig mit Nightwish. Es gibt noch so viele musikalische Möglichkeiten, die wir mit dieser Band machen können, dass es auf die eine oder andere Weise weitergehen wird. Es ist nur so, dass wir für eine Weile keine Live-Shows mehr spielen werden. Macht euch alle keine Sorgen.

Letzte Frage: Mit Drummer Kai Hahto spielst du auch in der Black Metal -Band Darkwoods My Betrothed. Wird man auch mal wieder etwas von dieser Band hören?

Ich bin sicher, dass wir etwas hören werden, denn der Gitarrist schickt mir die ganze Zeit Demos für das nächste Album. Sie scheinen wirklich darauf erpicht zu sein, schon mit dem nächsten Album zu beginnen. Ich war so sehr mit diesem Nightwish-Album beschäftigt, dass ich noch keine Gelegenheit hatte, mir darüber Gedanken zu machen.

Aber es ist ein wunderbares Projekt oder eine Band, wie auch immer du es nennen möchtest. Es ist ein tolles Gegengewicht zu Nightwish, und ich liebe es einfach, Teil der Gruppe zu sein. Ich kenne die Jungs, seit ich dreizehn bin. Wir kennen uns also schon sehr lange.

Wir sind wie Freunde aus der Highschool. Nach all den Jahren ist es einfach großartig, dass wir immer noch zusammen sind und als beste Kumpels gemeinsam Musik machen.

Danke für das Gespräch. Es war mir eine große Freude.

Dankeschön.

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LAUT.DE-PORTRÄT Nightwish

Die Gründung von Nightwish findet, ihrer Musik angemessen, am Lagerfeuer in einer Nacht im Juli 1996 statt. Nachdem Tuomas Holopainen (Keyboard), Tarja …

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