.:: Oceanborn - The UK Nightwish Fanclub ::.

Article by Kirsten

Considered by some to be Nightwish's best album, "Oceanborn" abandoned the soft, acoustic style that had been a big part of "Angels Fall First", and instead focused on the dramatic "opera metal" that was to become their trademark. Listening to this album is an enjoyable experience: every song has had a great deal of attention lavished on it, and, as a result, sounds great - this is not an album which will force you to camp out by the "skip" button for its duration (although Neanderthals in Slayer T-shirts might want to give Swanheart a miss...). If one criticism could be levelled at it, it might be that it isn't as varied as, say, "Century Child", with it's bewildering mix of ballads and angry, shouty (well, in places) metal. Yet this might ultimately count in "Oceanborn"'s favour - if you like operatic power metal, it's here in bucketloads.

After excellent opener "Stargazers" comes the finest track on the album - "Gethsemane". Its odd, jaunty melody is overlaid with some darkly beautiful lyrics, making comparisons between a Biblical story and one of unrequited love. Yet the words and music go surprisingly well together, to form a moving, but (thanks to the music) uplifting song.

Two songs on this album feature vocals by Tapio Wilska, the better one being "Devil and the Deep Dark Ocean", a vocal duel whose lyrics read like part of a somewhat dark fairytale. The combined force of the two singers' voices, together with their contrasting styles, ensure the song demands - and gets - the listener's full attention. Backed up by some skilfully arranged music, "Devil and the Deep Dark Ocean" shows the great results that can occur when heavy metal collides with classical music.

The more guitar-driven "Passion and the Opera" gives Emppu Vourinen a chance to show off his riffing skills - not least because the lyrics are replaced by operatic "la-la-la"s about half-way through. However, despite this, the keyboards, guitars, and (unusually noticeable) bass, backed up by some well-executed drumming, manage to keep things together throughout the song.

Few metal bands could successfully cover "Walking in the Air". The theme song from "The Snowman", an animation that's as much a part of Christmas as mince pies, midnight mass, or Santa Claus, is hardly a mosh pit anthem. Yet, while your average bunch of hairy blokes armed with B.C Rich guitars probably couldn't do it, Nightwish - with Tarja Turunen's clear, classical voice, and the orchestral overtones that tinge all their songs - can. And they do so with much skill, too. Starting of slowly, with the sound of lapping waves and a solo keyboard, it moves, via a tasty guitar solo, to a more rocky, up-tempo sound, departing slightly from the original. Although perhaps not appealing to people who hated the original, most people will probably enjoy this: a "metal" take on an old classic, that still has the spirit of the original.

So, while it's a matter of opinion if this is Nightwish's best album or not, it's undoubtedly an excellent one. Boasting a fine collection of songs, including some true classics, "Oceanborn" is pretty much an essential purchase, both for it's well-written, moving songs, and as it marked a significant milestone in the band's history.