А вот, кстати, Амарант на радио выпустили раньше оф релиза сингла. Хотя в случае с ДПП все гайки были куда менее туго затянуты, да и шуму нужно было наделать всеми доступными способами...
еще одно ревью, от Кристиана из Metalized Magazine (он провел здоровское инвью с туомасом, я как раз недавно его запостила на сайт)
1. TAIKATALVI
The intro bids welcome on the journey into the universe of Imaginaerum by placing the listener in a feeling of childish fascination in the best sense of the word. It is an evocative and mysterious lullaby with a somewhat dark edge. Deep rumbling from bass and orchestra carries a lighter lullaby-melody, which is quickly accompanied by Finnish singing from Marco Hietala. The name is lifted from the title of one of Tove Janssons moomin-books, and this intro really feels like a musical translation of the slightly dark edge that also characterizes the classic children’s books from Jansson.
2. STORYTIME
The first single gets the ball going with all the musical elements that you expect from an up-tempo and grandiose album opener, while it also has some extremely catchy vocal lines from Anette Olzon in its chorus. Think song-structure and some of the feel of “Dark Chest of Wonders” combined with the catchy qualitites from songs like “Amaranth” and “The Escapist”. An orchestrally dominated middle section leads to a finish consisting of higher and more elevated versions of the chorus. Lyrically the song is inspired by the cartoon “The Snowman”, whose theme song Nightwish already covered on Oceanborn from 1998. Let the snowman take you by the hand while you set off on an adventure together.
3. GHOST RIVER
The vocals of Macho Hietala steals your attention and dominates the impression of this song. A heavy intro by guitars and orchestra is quickly followed by some sinister and somewhat aggressive vocal build-up by Marco, while Marco and Anette complement each other beautifully in most of the song. This is also the first time the childrens choir really gets to dominate the sound, especially when they relieve of his duties in the final chorus. The song is dedicated to all the different feelings of life; love, sorrow, evil, friendship and much more.
4. SLOW, LOVE, SLOW
The biggest surprise of the album, and something completely new in the Nightwish-universe. A non-typical, laid-back and sexy jazz track, with all that goes with it such as relaxed bass-playing, sexy guitar notes and seducing saxophone. In the mind you picture Nightwish as midnight-entertainment in a sleazy bar, while Anette Olzon is lying casually across the piano, singing of all the promises of love with an enchanting voice.
5. I WANT MY TEARS BACK
Troy and his ulillean bag pipe take center stage here, and he lays a colorful carpet of bagpipe-notes on top of the power chords of Emppu Vuorinen, especially at the ending climax of the sung, where both circle and complement each other in beautiful solos without being particularly technical or show-off about it. Marco Hietala and Anette Olzon sing together on a chorus that once again features some quite catchy vocal lines. Longing for lost things that can only be recalled with memories seems to be the theme on this song.
6. SCARETALE
The fear and paranoia that lurks in the corners of the mind burst forth on this track, which open with some dark and disharmonic piano. The childrens choir return with some vocals that are anything but cute and sweet, and you are reminded that some of the scariest movies are those who wrap evil in a façade of childlike innocence. Hectic string activity and orchestral build-up lead to heavy riffs accompanied with double-bass pedaling from Jukka Nevalainen. Anette truly sounds like some whitch that you wouldn’t want to encounter in the woods, and later Marco comes in with some high and clear vocals. Tempo and heaviness are suddenly interrupted by a mix of paranoid circus music and Finnish humppa rythms before we return back to the rest of the song. A truly horrific and twisted ride through a rollercoaster horror house.
7. ARABESQUE
A track meant as a sort of purification after the preceding nightmare, and a relatively short orchestral track, which is overflowing with Middle Eastern sound pictures. Arabic flutes ornament the dominating musical element of the song, which is the frantic rhythm section of Middle Eastern drums.
8. TURN LOOSE THE MERMAIDS
An acoustically and emotionally driven track with some inspirations from folk music, perhaps a little bit reminiscent of The Islander, but with a bit more dominating orchestra later on in the song. Anette once again finds her emotional stroytellers’ voice, before flutes and orchestra adds their own emotional spices. One part of orchestral backdrop sounds a a bit like Ennio Morricone.
9. REST CALM
A slow and hopeful intro is replaced by guitar riffs and Marco’s vocals, which in turn unexpectedly is relieved by a quiet and warm Anette. Once again this rhythm of complementing vocals is repeated, before support to the vocal lines is given by the childrens choir. The song is meant as a tribute to those hopes and memories who bring calm, but as in the real world this is often interrupted by the heavier trespassers of the mind.
10. THE CROW, THE OWL AND THE DOVE
Another acoustically dominated song starting off in a slow tempo with Anette and Marco singing together., while the tempo is calm and gentle. Anette is then left alone in the verse, followed by a choir singing a chorus with a positive air. In the end, Anette is singing the chorus on top of the choir, and we get a guitar solo by Emppu Vuorinen.
11. LAST RIDE OF THE DAY
There is still time for a final rollercoaster-ride in the emotional and fantasy-driven theme park, and this one is a return to a more typical Nightwish-approach with its up-tempo heaviness and orchestral bombast. Anette carries most of the song vocally, with yet another really catchy chorus that Holopainen himself also copies on piano. In typical Nightwish-fashion, the songs builds up for a big ending where everything is taken up a notch by orchestra, double-bass drumming and Anette going even higher, but the ending is bit more abrupt than you might usually expect.
12. SONG OF MYSELF
The longest song of the album, divided into several parts where the last one is a big and long homage to the American poet Walt Whitman and his classic poem “Song of Myself”. The Hans Zimmer-inspirations of Holopainen can be felt in the orchestral style that dominates the beginning of the song, while delivers a vocal style a bit different than we’re used to. Later, chugging stop-start riffs dance along with orchestra in a way that really plays with your ears, and you constantly expect the song to end, while you are cheated again and again. Instead, we are then led into a long recitation of Tuomas Holopainens own Whitman-inspired poetry with a number of people reciting different parts of them poem, while the music itself is just a quiet backdrop.
13. IMAGINAERUM
A homage to the entire album dominated by the orchestra. Different sections of the orchestra play different melodies from the other songs on the album while they are woven into a whole. This is also the case for both choir as well as Troy and his pipes before we slowly descend into a long and relatively quiet outro.
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Напомню, что в недалёкие времена MTV3 сильно подкалывали Найтов, в частности из-за Анетт. Здорово, что их мнение изменилось.
Но если кто-то осмелится такое написать...если только попробует...не делайте этого