Dark Passion Play - Music Description

Music Description

Before the album's release, band leader Tuomas Holopainen said in an interview that the album would have a lot in common with the previous album Once. For example, the band have kept the new kind of heavier songs, such as "Master Passion Greed", "Whoever brings the night", "7 Days to the Wolves", and "Bye Bye Beautiful", but additionally there are softer ballads, such as "Meadows of Heaven", "Eva", and "The Islander". This album includes lots of guest musicians and orchestral parts, just like Once, but with a bigger level.

Just like the album Once, Nightwish included many new influences and experimentations in several tracks. On Once, much inspiration came from Native American music, especially "Creek Mary's Blood", which featured Lakota Indian musician John Two-Hawks. However, on Dark Passion Play, much inspiration comes from Finnish and Irish culture and music, which can be clearly heard on "Last of the Wilds". Songs like "Master Passion Greed" and "Cadence Of Her Last Breath" included thrash metal and alternative metal elements as well, displaying the newer, more modern sound of the band.

Holopainen also said that there are darker pieces reminiscent of the album Century Child, such as "The Poet and the Pendulum", and some others. It will be a dark album, both musically and lyrically. Even though the album is much more upbeat than Century Child. Songs that reflect this mood are for example the second single "Amaranth" and "Bye Bye Beautiful"'s B-side "Escapist."

The extremes are there more than ever before. So it's not going to be like Century Child 2. There is more hope in some of the new songs.
-Tuomas Holopainen, band leader, keyboardist, and main composer.

Read more about this topic:  Dark Passion Play

Famous quotes containing the words music and/or description:

    I cannot say what poetry is; I know that our sufferings and our concentrated joy, our states of plunging far and dark and turning to come back to the world—so that the moment of intense turning seems still and universal—all are here, in a music like the music of our time, like the hero and like the anonymous forgotten; and there is an exchange here in which our lives are met, and created.
    Muriel Rukeyser (1913–1980)

    The Sage of Toronto ... spent several decades marveling at the numerous freedoms created by a “global village” instantly and effortlessly accessible to all. Villages, unlike towns, have always been ruled by conformism, isolation, petty surveillance, boredom and repetitive malicious gossip about the same families. Which is a precise enough description of the global spectacle’s present vulgarity.
    Guy Debord (b. 1931)