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About Himiko

Profile Information

  • Gender:
    Not Telling
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  • Interests
    Reading, playing video games, watching films, listening to music, pretty much anything that doesn't involve excessive motion.

About You

  • Favourite Food
    Big fan of fish generally (not shellfish, though, I'm allergic), curries (provided they're not massively spicy), most Italian food, and CHEESE. Lots of cheese.
  • Favourite Animal
  • Favourite Beverage
    Cider, Squash, Water
  • Favourite Colour
    Purple and green
  • Favourite Place
  • Do You Drink Alcohol
  • Do You Smoke
  • Phobias


  • How Did You Discover Nightwish
    A recommendation by another member on the Miranda Richardson Appreciation forum (which I had joined in order to talk about the 1998 miniseries, "Merlin")
  • How Many Times Seen Live?
  • Best Live Song
  • Favourite Album
    Century Child
  • Favourite Song
  • Favourite Album/Single Artwork
    Century Child
  • Favourite Music Video
    The Islander
  • Favourite DVD
    From Wishes to Eternity
  • Least Favourite Album
    Dark Passion Play
  • Least Favourite Song
    White Night Fantasy

General Music

  • Favourite Singer
    Hansi Kursch
  • Favourite Non NW Song?
    "Tanderadan" by Helium Vola
  • Best Concert Attended
    Wacken 2011
  • Favourite Non NW Album?
    Changes too frequently for me to decide...
  • Favourite Composer?
    Trevor Jones
  • Favourite Band/Artist?
    Blackmore's Night, Blind Guardian, Subway to Sally, Akiko Shikata, Alestorm, Sabaton, Helium Vola, Abney Park, Katzenjammer, Skindred and several others...
  • Musical Dislikes (Songs, Bands etc)
    Evanescence -_- Various songs/ artists across different genres, though there are certainly some I listen to less than others in general


  • Favourite Actor/Actress
    Miranda Richardson, Rex Harrison, Ian McKellen, Johnny Depp, Natalie Dormer
  • Favourite Movie(s)
  • Favourite TV Show(s)/Series
    Orphan Black, Orange is the New Black, Game of Thrones, In the Flesh
  • Favourite Movie Soundtrack
    Merlin, Pirates of the Caribbean
  • Favourite Author
    George RR Martin, Margaret Atwood, Tom Holt, N K Jemisin, Garth Nix, others who I can't remember off the top of my head
  • Favourite Book(s)
    "A Song of Ice and Fire" (series), "Wheel of Time" (series), "The Gormenghast Trilogy", "The Mists of Avalon", "The Warlord Chronicles" (series), "The Chronicles of Thomas Covenant the Unbeliever" (series), "Wolf Hall", "His Dark Materials" (series)
  • Favourite Comic Book/Anime
    Higurashi no naku koro ni, Azumanga Daioh, Paranoia Agent, Elfen Lied

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  1. But there is a certain visual/ performance aspect to a live gig, yes? Otherwise we would all stay at home and listen to our nice, studio quality albums that we have of all of these songs, and not have to queue in the cold, or have strangers screaming in your ear, or having to pay over the odds for a crap cider, or, if the venue is small/ low ceilinged/ tightly packed enough, have sweat rain fall from the ceiling onto your head. Or even get out of our pyjamas. I get that in the case of Nightwish there is the fact that they haven't performed most of these songs live with Floor, Troy and Kai before, so there's going to be a different sound to the studio albums, but that's not the case with most live band performances. People go anyway, to see the songs they like be performed, to see a show. I personally think Nightwish do a decent job - they tend to rely more on their effects (pyros, stage setup, vid screens etc.) to provide the spectacle rather than their own performances (of which, yeah, Floor is definitely the strongest in terms of movement and energy. But that's nothing new, on some of the videos from the DPP tour the only person putting the effort into looking like they want to be there is Anette). They're nowhere near the most spontaneous, interactive and energetic live band I've seen, but they're nowhere near the dullest either. But I think it's a bit silly to imply that the band's performance/ demeanour should be irrelevant to everyone watching the show. Anyway, to each their own. I'm really liking "Slaying the Dreamer", wish you could hear Floor a bit more clearly in the final section in the video above, though. If they release nothing else from this tour (and they really should release a full live album at minimum), PLEASE let them give us a HQ video of Slaying the Dreamer.
  2. Obviously there were (and are) a lot of people in the US that are fans of Nightwish and their earlier albums, and I'm not surprised that they did a tour there for Decades, don't mean to imply that none of their US fans are familiar with their earlier stuff - and I definitely don't think that the US should have gotten fewer dates, obviously they wouldn't do the tour if they didn't think there would be the audience there for it. But it is a bit surprising that the European tour (where you would expect there to be MORE fans of the band's early stuff given it's relative success on mainland Europe compared to the US) seems pretty short by comparison - currently if you don't count the festival shows, there are more dates announced in the US/Canada than for the whole of Europe (possibly true even if you count the festivals), and it doesn't look like there are any dates announced for the rest of the world at all. That said, perhaps me using the UK was a bad example though, since I don't think NW toured over here at all until the Century Child tour. Anyway, I'll wait and see whether any more dates get announced. 10th Man Down sounds pretty cracking with Floor, I have to say. I'm still not entirely sold on Marco singing Wilska's lines, but I do think he does a better job in this performance than the videos from the CC tour, and again, the song suits Floor down to the ground. DBP was also a beautiful performance - I don't think it quite tops the studio/FWTE versions for me, but it's still a great version, good to see Floor nailing both the soft singing at the start and the powerful belting at the end.
  3. Thanks! Hmmm... I'm in two minds about this... it's not bad, but maybe not quite as good as I expected. I think the "End of hope, end of love, end of time..." parts would have sounded better belted. But yeah, going to keep an eye out for later recordings, I still hope that this can sound awesome once they settle into it/ we get better quality videos. Just to be clear, my issue is not that Nightwish has orchestra. It's not my favourite aspect of their music, but it definitely adds to some songs, and yeah, it's a big feature of their sound on the latter half of their discography. Had they re-recorded the songs for Decades, I might not have been thrilled, but I would have understood them recording orchestra for at least some of the older songs, because that's the way Tuomas leans these days (it's one of the reasons I was glad they didn't re-record, because by the time they've replaced the vocals with Floor and the drums with Kai, and the male vocals with Marco and Troy, and the synths with orchestra, and re-arranged some of the songs with Troy's parts - hello, Celtic Nemo- then it's not really a look back or a retrospective of their career, it's old songs completely redone to sound like the newer songs). And obviously I would understand those being played in the live shows. Similarly, if they were touring with an orchestra, obviously, they would rearrange the songs to utilise the orchestra to best advantage. My issue is that the songs were left alone for the studio versions of the project (excl. remastering), and then for the LIVE TOUR - just to emphasise, since I apparently wasn't clear enough the first time around: The ENTIRELY LIVE, NON-STUDIO BASED part of the whole endeavour, gets an orchestral backing, which, because they are not touring with an orchestra, goes straight onto pre-recorded backing tape. Therefore, making the older songs MORE RELIANT upon backing tape than they were before. But without the reasoning that it is necessary to replicate the studio sound, because, once again: It does not appear on the studio album this tour is supporting. And that, to me, seems like a bit of a backwards choice. To give a different example: If, rather than have Marco sing on TGSOE or WIHAA etc. , they had instead re-recorded these vocals with, I don't know, Hansi Kursch, and then in the live shows, played those vocals over backing tape. Now, Hansi Kursch may be a better singer than Marco, he may well elevate those songs to new heights, but would it not seem a bit odd if those vocals never appeared on a studio recording, but were played on a backing track live, rather than using the entirely adequate singer that they have there, live, on the stage? Or, if rather than Troy performing Tuomas's parts, they had a guest singer record the vocals and played them over backing tapes at the live shows? Does it not make more sense, in a live setting, to make maximum use of your live elements and limit backing tapes to what is strictly necessary? Rather than making a song MORE reliant upon backing tapes in a project purely intended for the live setting? Does this clarify? This whole "Tuomas would have had it this way the whole time" argument keeps cropping up. Tuomas also thinks that TGSOE is the best thing he's ever written, that Nymphomaniac Fantasia is a terrible song, thought that John Two Hawks was a totally awesome decision for a guest singer at some point in the past, and that MPG deserved to not only be recorded, but to be released on an album whilst Escapist was confined to a B-Side. There are many areas where the opinions of Tuomas and I differ over NW music. Obviously, he's the composer so he absolutely has the right to do whatever he wants with the songs, I'm not debating that. But that doesn't mean that I'm going to like it better just because he does. Similarly, Tuomas may well have had the pre-CC albums contain balls-to-the-wall orchestra given the choice and the budget, but that doesn't mean that every fan of the band agrees. Look, I don't care if you love the orchestra, if you hate NF and/or Escapist and if you think MPG is the best song ever recorded. You do you. Enjoy your music however you like it. I mean, I might debate you on some of the points (particularly the latter) but at the end of the day, we all enjoy at least some of Nightwish's material and everything else is just subjective opinion. You can feel quite free to disagree with my opinions, but this whole NOT TRUE FANS! thing you tend to do when people mention they don't love overuse of orchestra and/or backing tapes comes across as really patronising. I can understand being annoyed at people who post literally nothing but criticism and how the band are about to fall apart, but pretty much everything else in my post was positive. Same for others in the thread, lots of positivity about the setlist, the performances etc. But yeah, obviously we are not "proper" NW fans. Sure. OK. Anyway, back to more positive matters, looking forward to seeing any setlist changes for tonight's show. Could be that we get the same setlist for the next few shows whilst they settle into the performances, before they start changing things up.
  4. OK, so I've just skimmed the thread so apologies if I'm repeating stuff that's already been said, but from the setlist and the live videos I've seen so far: - This is easily the best setlist they've had since... well, probably since before the Once tour, TBH. My worries about the focus being on the new albums was, it seems, unfounded. If I'm going to nitpick, I'd probably have replaced WIHAA with Ghost River or Sahara, and either GLS or TGSOE with Beauty of the Beast (Floor kills it on GLS, so I can understand why it's a setlist staple, but it has been played to death live). But that's just "It would be perfect if..." thinking, it is still a VERY good setlist. End of All Hope? 10th Man Down? Gethsemane? Come Cover Me? Dead Boy's Poe... You know what, I'm going to stop listing songs or I will list most of the setlist. - The inclusion of Come Cover Me would seem to indicate that we might get to see a couple of other older songs pop up on the setlist. Maybe Beauty of the Beast is too much to hope for, but still... - Given that a few songs that made it onto Decades weren't in the set (and no DPP songs cropped up at all), I would assume that we're going to get a few changes to the setlist throughout the tour - I'm thinking Poet might trade places with GLS and/or TGSOE some nights, possibly Storytime and Amaranth might bump WIHAA and Nemo from the set on some nights. - I'm hoping that if this tour is successful, we might see more of the older songs cropping up on the setlists in the future, since they've now arranged and played them with the current lineup. - I would say that it doesn't seem substantially longer than the EFMB tour setlist (for comparison, I brought up the Wembley Arena setlist and compared it to this one - both feature 17 songs, TGSOE and GLS appear at both and Wembley also has TPATP in the setlist, so if anything that might actually have been the longer set), so the whole "No support bands because it's an extra long set" reasoning seems a bit off. - I really, REALLY hope that we get a UK date announced, I'd really love to go and see some of my favourite NW songs performed live, and the European tour dates list seems pretty short so far (particularly compared to the US, where the early albums never really took off, you would think Europe and South America would be the main audiences for this tour if anything). - I'm trying to not read too much into the videos so far, as they're obviously not great quality and it's from the first show of the tour. But from what I've seen, Floor sounds excellent on Slaying the Dreamer (colour me totally unsurprised), Devil, Kinslayer, Dead Boy's Poem (that ending sounds great - I like that she went the "Floorgasm" route rather than sticking with the classical style delivery that Tarja went for, it suits her voice better and works fine in the song, too). I wasn't a huge fan of the chorus in Gethsemane, but I think that's more because Floor's classical singing just isn't to my taste, and I should probably just make my peace with that fact - for the rest of the song, she sounds fine. I quite enjoyed her Sacrament, but I understand those who preferred Anette's version - the song works really well with contemporary vocals, I think if Floor just belted it with a little more "Ooomph", for lack of a better word, it would sound fantastic. I look forward to seeing videos from future shows to see how that performance develops. The only song where I wasn't particularly impressed with Floor's vocals was The Carpenter - she sounded a bit off in the first couple of choruses. That said, I thought that Troy was a marked improvement over Tuomas whilst still keeping to the same vocal style, and I did really like the ending with them all singing together. I think this might be another case where improvement will probably be seen over time. - I really hope we get a video of End of All Hope soon (haven't found one so far) - I feel like this is another song that would really suit Floor, and it's one of my Top 10 NW songs, so I'm really excited to hear how it sounds. - On the subject of vocals, I'm still a bit uncertain regarding Marco's DATDDO vocals, BUT I enjoyed his part on Kinslayer. Was similar enough to the original in style, and meant we got to hear it live rather than relying on backing tapes... - ... and on that topic, saving the negativity until last... I'm really not fond of the additional orchestrations. It's not so much the music itself *, for the most part I think it's mostly superfluous and doesn't really add anything to the songs (to this day, the "Wishmaster" backing is the only one that made any sense to me, and that was mostly because it made it fit in with the more bombastic DPP tour tracks better, and was actually noticeable to the live audience), but if the band wants to chuck their money towards creating orchestral backing tracks for their live performances, that's their lookout. But I just don't really understand the reasoning behind it...? Like, the band did not re-record their songs with the new lineup. They were, in fact, very explicit about NOT wanting to re-record their old songs, because the whole point of the album was a retrospective of their career, including their former members and the songs as they were recorded at the time. OK, that makes sense. And I get that the live versions will not be the same as the album versions, because the members have changed and there are more instrumentalists than there used to be, and I think the only person that wants to hear Tuomas sing live again less than me is Tuomas himself. And I get that Nightwish are not (to pick a random example) Blind Guardian, who specifically rearrange their songs for live performances so that as much of what you hear in the show as possible is played live. I get that Nightwish have orchestral backing on a substantial number of their studio tracks, and short of touring with a full orchestra, or leaving the orchestra off those songs live (which they're obviously not willing to do) they have to use backing tracks when playing live. But what they appear to have done is recorded orchestral backing tracks for the live tour of an album that they're never going to appear on. And they have taken songs that could have been played mostly live, and made them MORE reliant on backing tracks? Because... all live songs sound better with backing tape orchestra or... something? I don't know, maybe when I see them live myself, assuming that I'm standing in a place where I can actually hear the backing tapes (when I was at Wembley I could barely hear a note of them, but I could hear Floor really clearly), I may be totally converted to the sound. But in principle, I'm not keen. * Except for Gethsemane. It's definitely the music in Gethsemane. But that's because the studio version is my #1 favourite NW song of all time (and one of my favourite songs of all time full stop), and so my reaction to this varies between "YAY, it's back in the setlist!" and "Every single tiny change to the original is heresy of the highest order!" But yeah, generally speaking, great setlist, band sounding great, looking forward to hearing future videos as they get more comfortable with the new setlist, and if they announce a non-festival UK date (maybe even more than one date, though not sure how likely that is...) I am definitely there.
  5. That might be part of it, I think part of it might be that they sort of found their own niche - I've heard a lot of people say that TPA felt like an extension of early After Forever (I can't really judge as I'm not that familiar with early AF), and Consign to Oblivion felt like quite a "typical" symphonic metal album - the songs are decent, but there's not a lot to differentiate them from Nightwish, Within Temptation etc. After that, they seemed to move towards a heavier sound and some less "accessible" songs, and it seems like they've basically been honing that sound ever since. I'd say that because they've got that more distinctive, heavier sound these days it makes it easier for them to stand out and build their own fanbase. I think if they'd stuck with the CtO sound it might have been quite easy for them to get lost in the mix, as more bands started including these symphonic elements. Just speculation, mind you.
  6. Actually from what I recall the reception towards Imaginaerum was overall pretty positive on the forum. Obviously not everyone liked it (I don't think any moderately successful band with a large output has ever put together an album that pleased each and every one of their fans), but the reception definitely seemed overall positive. Honestly, my guess would be that EFMB was the victim of overexpectation, to a certain extent. Floor proved on the iRum tour that she was a brilliant vocalist, capable of singing in multiple styles, and in particular singing very powerfully. Consider moments like her "Floorgasm" at the end of GLS, etc. Troy was now a fully integrated member of the band. I think maybe with two new members with songwriting experience, a much more powerful and varied vocalist than her predecessor, and a third potential vocalist/ second guitar player/ multi-instrumentalist, not to mention a working relationship that seemed less fraught than it had in a while, people were expecting something really outstanding, maybe trying out new things musically/ vocally. And EFMB ... doesn't really do that. It's a change lyrically, but musically it reuses riffs and follows much the same paths as the previous albums in terms of sound. Floor proves that she can sing softly, but she gets few oppurtunities to show off the power of her voice, when she growls on YIAEH it's buried deep in the mix, and for the most part she sings in a quite restrained, middle of the road way. The majority of the aggressive singing is still given to Marco. Troy's largely consigned to backing vocals. Then you have the people who didn't like the changes that WERE there (didn't like the change to more upbeat lyrics, or lyrics focussing on science. Didn't like the slight move back towards a more band focussed sound - I saw a lot more comments complaining about Elan not having enough orchestra than it having too much.) None of that makes it a bad album, but might explain why the reception wasn't necessarily great. Imaginaerum followed on from DPP which is something of a divisive album, and I think most fans agree that Anette did a better job on the former than the latter, which might indicate that expectations for that album were not as high, making them easier to meet and get a good reception. I speak as someone who prefers the earlier albums, but loves Imaginaerum and finds EFMB underwhelming, so take from that what you will. @some_dude_on_the_interwebs - I was also just guessing the songwriters based on the sound, but I would assume that those who bought digital copies might have a booklet (or at least composer details indicated on the file), which may explain where some of the knowledge comes from. To anyone who might have the booklet for the whole album, just curious, is Skeleton Tree credited as being written by one of the three bandmembers? I'm still curious as to whether it might be a Nick Cave and the Bad Seeds cover or not.
  7. It's just a guess but I would imagine producing a live album probably costs less than a studio album? I mean, don't get me wrong, I'm sure there's some truth in the argument that it's not a career retrospective album if they rerecord all the pre-Floor tracks with the new lineup, and that it wouldn't sit quite comfortably with some of the members. Plus I imagine they'd also be worried about fan backlash from some quarters. But on the other hand, if they're planning to make a good quality live album anyway (and I hope they do, Floor's great live) why bother going to the additional expense of re-recording them in studio? PLUS, something to take into account for the re-recording fans - if they decided to re-record the old tracks with Floor singing, surely they would also rerecord at least some of the instrumentals with the rest of their current lineup - including, very likely, rearranging some of the instrumentals to fit Troy in, since he is, you know, also a member of the band. I'm assuming that you're not (or at least, some of you are not) clamouring to hear the songs re-recorded with Troy in, and yet the live shows will feature him, too.
  8. ^ Honestly, I quite enjoyed Mass Effect: Andromeda for the most part. I think there were a lot of improvements to the combat aspects of the game compared to the original trilogy (I actually found myself enjoying some of the fights in MEA, rather than just getting them out of the way as quickly as possible to get to the next bit of plot). I really liked most of the characters - I mean, I love Liara, Tali, Wrex, Garrus etc. as much as the next person, but it did feel a lot like their purpose in the first Mass Effect was to be infodumps about/ totally representative of their species. It felt like they got to be a little more varied with the characters in this. Though, saying that, I didn't do a lot with Cora and Liam after the first couple of planets. The story was... fine. It didn't feel as grand and epic as the original trilogy, but then the original trilogy was about saving the entire galaxy, so I wasn't really expecting that to be replicated. All that said, there were definitely issues with the game. The facial animations were certainly interesting - having to set my character's mouth to the smallest setting so she didn't look ready to bite everyone's face off every time she spoke was a particular highlight And something was a bit off with the hair colouring too, I think - it seems to have been corrected in subsequent updates, but when I first started playing, every time I encountered blonde or redheaded characters standing in the background it looked like their heads were glowing with radiation or some such. There were a couple of missions that glitched part way through and were rendered un-completable, which for an OCD completionist like myself can be deeply frustrating. Not being able to skip the lengthy space flight sequences when I first played it was also a pain. Whilst it didn't affect my gaming experience as I played Sarah Ryder, having only one M/M romance option (and that being a non-companion crew member) compared to at least 2 options (and at least one companion) for everyone else was an obvious recipe for complaints, I don't understand for the life of me why they didn't just make Jaal (or Liam, for that matter) a bi romance option from the start rather than going through the whole song and dance that they did. In fact, all of this is stuff that I feel should have been noticed and fixed BEFORE it shipped, not in updates a few weeks down the line. It also felt like it hadn't entirely learned from Dragon Age Inquisition regarding the maps - most are very big with not a lot in them. I'd have preferred smaller maps with more stuff packed into them (maybe another species, it seems unlikely even with the presence of the Kett that the Angara would be the ONLY native species kicking around the Andromeda galaxy). And whoever came up with the "Drive around this giant planet to find 10 of X in random locations with no quest marker" quests needed a good slapping. So, yeah, overall I enjoyed the game but it was not without flaws, a lot of which seem to be due to it being released in a rush before it was completely ready. EA didn't learn it's lesson from ME3, it seems. I keep meaning to pick up the Witcher - I have a copy of 2, but it's languishing in my "To Play" list at the moment XD Yeah, the best DLC should really add something to the game (I'm not a huge fan of "Alternate Outfits" or, heaven forfend, Horse Armour :P), but without feeling like vital stuff has been deliberately kept out of the base game (looking at Mass Effect 3 again here - Javik in particular). I recently finished "Dragonborn" (behind the times, I know...) and I thought that was a good example - it's a nice bonus, you get a new area to explore, new characters and quests, and the story is linked to the main storyline of the game but isn't actually part of it. Fallout New Vegas DLCs are good examples too, IMO.
  9. After getting hooked on the soundtrack months ago, I was FINALLY able to sit down and play through "Everybody's Gone to the Rapture" last weekend. I was a little doubtful about the idea of "walking simulators" at first, but I actually really enjoyed it XD I played it through, played it again for an achievement run and then sat down a couple of days later to pick up the various conversations in the context of knowing what happened to pick up the little plotpoints I missed the first two times through... Much as I love my sprawling epics (Mass Effect, Dragon Age, Fallout, Elder Scrolls etc.) it was definitely nice to play something that I could get through beginning to end in one day. I've got a few more shorter games lined up that I picked up in the Playstation sales so we'll see how well they go in comparison.
  10. ^ This seems to be your go-to response every time someone criticises something Tuomas has made since Once. Is it not possible that this simply isn't some people's cup of tea? Or that their pre-judging has more to do with their attitudes towards Troy than believing that Auri was going to be OB part 2? Anyway, regarding the song... I actually like it, IMO it's much better than Night 13. It's not the kind of song that will be stuck in my head or anything, but I can see myself listening to this to chillout, and the instrumental/ vocalising parts from about 2:20 onwards are quite enjoyable. I'm not sure about Johanna's voice though, I feel like it could have been elevated with a different singer. I could be entirely wrong, but if I had to guess I would say that Troy is probably responsible for the music of this one, and Tuomas for the music of Night 13 - I could be entirely wrong of course, but Night 13 had more of a "Nightwish" feeling to it (though not as good as the most of their actual work), this one actually feels like something a bit more distinct. Some will probably hate that, I'm all good with it.
  11. I'm pretty sure this was for EFMB - I could be wrong, but I do remember the website/ FM page putting out announcements about when they were going to put out further announcements in the run up to EFMB too ... Yeah, I feel like the run up to the release of EFMB probably did not increase fan goodwill towards it XD Be fair now, we've only had a small number of teasers for Decades, and they've all contained actual music from the album
  12. I actually quite like the male vocals on Devil and Pharoah - though they took me a long time to get used to back when I was just discovering Nightwish (and metal in general). I think they're very distinctive. It doesn't really sound like "growls" so much as a very deep narration style- compare to his work in Finntroll and you'll see what I mean. It's not something I'd necessarily want to listen to on it's own, but it works well in the context of the song. I'm a little apprehensive about hearing Marco take them on, TBH, as his harsh vocals tend to sound higher and kind of shriek-y at times. I agree with those who suggested that Floor might be able to do them better justice, but we'll see how they arrange it live. I do agree with you on Mark Jansen's vocals - I think he and Simone have both noticeably improved since the early albums.
  13. I tend to agree with this. For me, TGSOE contains some good individual parts (the "We Were Here" was a very powerful live moment, the "We are one..." chorus isn't half bad either), and I like that they tried some new things (Floor's sinister narration-style delivery in the second section for example, even the weird little music/ animal noise mixup in the middle) but there's far too much padding/ filler around it. The intro is pleasant to listen to at first, but it just goes on for much too long. It did not need to be nearly 6 minutes long. Same with the ending - you have the epic "We Were Here" moment - great ending. But then it carries on with the soft orchestral sounds, then with the narration by Dawkins, then more swelling orchestra, then basically two minutes of wave noise... Look, I have nothing against long songs, if the length is justified by the quality and variation of the content. I just don't think it is here. All that said, if they perform the shortened version that they performed in the earlier part of the EFMB tour (basically just parts 2 and 3) I don't think it would be so terrible. Not necessarily a great opener, but if they wanted to run with the whole "Back in time" idea in the set it would make sense. The full version, no, the last two sections worked OK as the background to the band taking their bows and drawing the show to a close, but at the beginning (or in the middle) of a set that's going to lose the interest of the audience very quickly. All that said, I have my doubts that the setlist will go the same way as the tracklist. "Nightwish" seems like a very odd choice of show closer - I can see them mixing up the order of the tracks a bit more live.
  14. Honestly, I think that part of the "problem" with trying to nail down what Decades is meant to be, is that for the "Once" songs onwards (Disc 1, basically) it basically is a "Greatest Hits", in the sense that it's got the big well known singles on it (Nemo, Wish I Had An Angel, Amaranth, Storytime, Elan), the long epics (TGSOE, GLS, Poet) and two tracks that have essentially become live staples (My Walden, I Want My Tears Back) - that's it, there is no room for any of the other big live tracks (Last Ride of the Day, anyone? Dark Chest of Wonders - much as I was sick of the sound of it, it was a live show staple for like, 3 solid tour cycles across 3 different vocalists), there's not even room for some of the more obscure singles (No Siren, no Birdie Song, no Islander), never mind never-performed songs like ODITS (and frankly, if you're going to put a gentle ballad that was never released as a single or even performed live on this thing, Turn Loose the Mermaids is miles better BUT ANYWAY...). Describing pretty much anything on this disc as "obscure" is pushing it mightily. And then for Century Child and earlier, you have almost the precise opposite. There's singles for "Oceanborn" and "Angels Fall First" on there, but that's it - there's no Ever Dream, no Bless the Child, no Deep Silent Complete, no Over the Hills.... The long epics of Beauty of the Beast and FantasMic don't get a look in. In terms of setlist staples, there's the rather glaring omission of "Wishmaster" (which, thanks to appearing on two of their live DVDs, several of their tours and a certain Misheard Lyrics video, is probably one of their best known songs despite never being a single), there's no Stargazers, despite it being played at pretty much every show on the last tour, or She Is My Sin. I mean, I'm all good with this (apart from Beauty of the Beast, I will be forever bitter about that exclusion), and it's a nice turnabout from "New albums played in tedious detail, and the same 3 songs from the old albums" we see on most tours, but it's a very different take from Disc 1. Most of these haven't been heard since the Tarja era, none apart from Sleeping Sun have been played since Floor came on board. I mean, one is literally a demo song. I can understand that they need to sell tickets to this tour, and so having songs like "Nemo" on the tracklist/ setlist to draw in more casual listeners is probably a good move. But it seems odd that they've basically ignored their better known songs from the early era- which, if that IS the reasoning for Disc 1's tracklist, seems a bit odd. Maybe a third disc would have been benficial, to include tracks like "The Siren", "Last Ride of the Day" etc. from the new albums, and some of their singles from the early albums (Plus BOTB, dammit!!!)
  15. Seven Kingdoms - "In the Walls" I'd never even heard of this band until about two days ago, then someone listed this as one of their top 10 songs of 2017 on Youtube, and power metal fan that I am, I had a look out of curiosity. I have since listened to it, ummm... several times. I would estimate a few months to get it back out of my brain again. Ah well.