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18 of 19 people found the following review helpful:
4.0 out of 5 stars
Nightwish -- not your typical Goth/Symph metal band!, February 22, 2002
Oceanborn, the second album from Finnish symphonic/Goth metal/power prog band Nightwish is distinctly different from other bands in this B&B (Beauty & Beast) genre. It still boasts occasional riffing and drum beats in triple time. And there are still the odd growling male vocals (only on a couple of tracks, however). And the de rigueur juxtaposition of metal guitars with orchestration and synths accompanied by a crystal-clear operatic female vocal (from Tarja Turunen) is still the banner under which Nightwish proudly marches. But whereas other Beauty & Beast/Goth metal bands (such as the dismal The Sins of Thy Beloved, or the aptly named Theater of Tragedy) wallow in the mire of doom and gloom, Nightwish takes the high road. Most of the songs are extremely upbeat, lively and seem to be full of -- dare I say it? -- joy. Another difference is the presence of guitar solos. Many bands in this genre (even my beloved After Forever) eschew guitar solos for one reason or another, but Nightwish sprinkles their bombastic songs with an occasional fretboard flurry that ratchets up the excitment level a notch or two. Tastefully done. The CD starts with a bang -- "Stargazers" -- and takes the listener on a brisk, but enjoyable, ride. This track has more in common with progressive rock's grandeur and majesty than it does with European Goth/symphonic metal. This is a great song, the perfect album opener. Lots of power and Dream Theater-like fast guitar/keyboard runs. (I love that synth change-up at 3:20 into the song!) Some songs on Oceanborn are slower than others, and a flute plays a key role in a few (the beautiful "Swanheart," for one). But all are nicely done and worthy of repeated listenings. "Gethsemane," for example (track two) sounds like Baroque meets Metal -- in a Trans-Siberian Orchestra sort of fashion. Lots of piano tinkling and syncopation. This song features a nice flute melody dancing lightly over the top of the crunching guitars -- with a suitably neoclassical break at 3:04 into the song. The first track to feature the growling male vocals (unfortunately) so common to this genre is track three: "Devil & the Deep Dark Ocean" (although this is more of a rap-tinged, talk-sing vocal than a flat-out growling vocal). Track four ("Sacrament of Wilderness") begins with a cool guitar/drum/synth combination that gives way to a neoclassical burst of notes and driving beat that propels the song forward. "Passion at the Opera" (track five) begins as a straightforward hard rock riff -- but with an operatic female vocal rather than what would be (in America, at least) a male vocal. The aforementioned "Swanheart" (track six) is a slow-paced, emotional, piano and flute composition that sounds like it could be sung in church on Sunday morning. Even when the drums pound in at 2:20 and the guitars enter at 2:44 (hey, Stryper did it, didn't they?) it still sounds like a power ballad you'd be pleased to hear played on a sleepy Sunday morning. Nightwish truly know how to craft a song, and "Swanheart" is audible proof. "Moondance" (track seven) is pure life and joy. It's a Russian dance beat that begins slowly, almost sadly, then bursts upon the scene as a song you can picture in your mind as being the backdrop to a line of guys, crouching with their arms folded, kicking out first one leg and then the other, yelling "Hey!" This instrumental track is brilliant. A lot of fun. And much too short at 3:30. "The Riddler" (track eight) is a Eurythmics-sounding song that you'd swear was sung by Annie Lennox. Tarja Turunen's voice reminds me of Lennox's, anyway, but on this song the similarity is striking. "The Pharaoh Sails to Orion" (track nine) is a scorcher. It's 6:15 of hard-driving, twisting and turning rock music that builds to a wonderful crescendo. The album begins to wind down with "Walking in the Air" (track 10), a much-needed breather after "Pharaoh." The slower "Walking in the Air" leaves a pleasant taste in one's mouth. In fact, it leaves one wanting more. And the "more" comes in the form of the CD's final track ("Sleeping Sun") an ambient, Enya-like track with a wistful, melancholy quality to it. Oceanborn shows the world that Nightwish are not your typical Goth metal band. They have solid songwriting abilities, a firm grasp of melody and a desire to be known as a group that rises above the norm. Their songs are much lighter, much happier and much easier to listen to -- a far cry from most other bands in this genre that usually leave their listeners bruised, bloodied, broken and depressed to the point of suicide after their sonic onslaughts. I wholeheartedly recommend Oceanborn ....
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