might seem like a ridiculous proposition to those not versed in the intricacies of symphonic metal, but their Andrew Lloyd Webber-esque operatics are underpinned with genuine emotion. New album – a fairly preposterous made-up word, granted – was partly inspired by the death of keyboard player and chief songwriter Tuomas Holopainen’s father. It returns to ground the band first explored on 2015’s Richard Dawkins-inspired , namely the fleeting beauty of godless human existence.
Once again Holopainen sugars the existential pill with allegorical lyrics, some (e.g. ) inspired by his love of fantasy books, others by real-life events ( retells the hopeful tale of a group of shipwrecked Samoan kids).
Even by Nightwish’s standards, the album is sonically huge. and offer the kind of grandiose maximalism that puts most Hollywood blockbuster soundtracks to shame, while powerhouse singer remains the most versatile and charismatic vocalist the genre has to offer. Big and clever – a rare combination.
Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on and , Associate Editor on magazine and staff writer/tea boy on , not necessarily in that order. He has written for , the and the totally legendary .
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