#nightwish — Public Fediverse posts

59. #Nightwish - Yesterwynde, 2024.
"An Ocean Of Strange Islands"

https://youtu.be/I6iwrJjzkIY?si=zWY4gY_tlMHZDAyG

58. #Nightwish - Hvman. :||: Natvre, 2020.
"Music"

https://youtu.be/rwz7-h9LCDU?si=M4Eb0TCpAXEfPcuj

57. #Nightwish - Endless Forms Most Beautiful, 2015.
"Shudder Before the Beautiful"

https://youtu.be/nt9DBSFi4cM?si=dKzHKyLNrYy4yOMx

56. #Nightwish - Imaginaerum, 2011.
"Ghost River"

https://youtu.be/YaRYOb_C0Y8?si=PvcGPeZkCQclnsdR

55. #Nightwish - Dark Passion Play, 2007.
"The Poet and the Pendulum"

https://youtu.be/rVVTiG9UgnE?si=bBu1LIImx7BpA3Ph

54. #Nightwish - Once, 2004.
"Planet Hell"

https://youtu.be/Ce71ToVVxts?si=X3MeCS33kLyFswLQ

53. #Nightwish - Century Child, 2002.
"Ever Dream"

https://youtu.be/lXqncMe3wew?si=KVB7WzdqFY7LYjn7

52. #Nightwish - Wishmaster, 2000.
"Dead Boy's Poem"

https://youtu.be/Dm3k7lXNSa8?si=kxMZBxoRYsgFfPTw

51. #Nightwish - Oceanborn, 1998.
"Sacrament of Wilderness"

https://youtu.be/4giSbC9BQLs?si=UFiWZbb_kWyI-hm-

50. #Nightwish - Angels Fall First, 1997.
"Elvenpath"

https://youtu.be/GwKDj2YALVQ?si=G99uOzsrHtNYGlM2

For #throwbackThursday today I've chosen a #concert I've attended last year, of one my all time favourite singers, #TarjaTurunen and #MarkoHietala
Pictures were taken in Ljubljana and Zagreb venues, as I've attended both concerts, but right here features just her. Yes, they're some more edited, but that's how I wanted them.
Her music and music of her previous band has been an important part of my life.

#singer #photography #nightwish #tarja #symphonicmetal #photooftheday #pictureoftheday

#np - Eva :amusicbeat: #nightwish

"She walks alone but not without her name / Eva flies away, dreams the world far away / In this cruel children's game, there's no friend to call her name"

Roughly a decade ago, I obsessively hunted and consumed anything and everything I could find that claimed to be symphonic metal. At some point, though, the genre appeared to become dominated by poppy acts who added keyboards more like an afterthought. But, as if to grant my foregone wish, Ledmotiv has emerged from Gothenburg, Sweden, to put the symphony back into symphonic metal. Captained by composer Viktor Hakan, The Ghost of Carrion was written as a holistic suite and recorded with an array of authentic orchestral instruments. Ledmotiv may be a small band now, but they have big dreams of playing in arenas someday. Given that this, their sophomore record, totals a whopping 75 minutes, their songs must be especially dazzling in order to prevail.

Luckily, Ledmotiv has the skills to make their lofty aspirations a reality. The basis of this mad science experiment is the buoyant rock operas of Avantasia mixed with ultra-catchy Ghost anthems. As reagents, we have the orchestral bombast of Nightwish and the borderline-Broadway theatricality of Ayreon or Scardust. To cap it all off, Nils Leufvenius sprinkles ample quantities of melodic guitar soloing that frequently flirt with power/prog metal territory. All in all, The Ghost of Carrion is very high in sugar, but also contains a great deal of substance, making it digestible without inducing a stomachache.

Although The Ghost of Carrion is a concept album, Ledmotiv keeps the focus where it belongs—on superb songcraft. It’s hard to overstate the importance of the elaborate orchestral compositions in making this so much richer than a collection of arena rock songs. I particularly love when these instruments are brought from a supporting role to the forefront. Oskar Valeberg’s elegant cello gets the spotlight in the intro of “Mother Opus” and a brief solo in “Eureka.” Elsewhere, Miguel Chamorro brings the heat with sizzling violin strings in “What Have I Missed?” that could send the Devil scuttling back to Georgia. Instead of depending on a star-studded cast of voice actors (as Ayreon does), Vide Bjerde’s charismatic and heartfelt performance propels things along with a wide vocal range. He really belts out his lines when it matters most, “For Fire to Behold” and “Eureka” being some of his standout performances. Spoken dialogue is, thankfully, minimal, only popping up a few times during the entire 75 minutes.

Such a long runtime affords many opportunities for things to go awry, but The Ghost of Carrion somehow stays squarely on the rails for the most part. Each of the ten tracks can stand alone, with no irksome intros or interludes. They are bound together by oft-recurring leitmotifs1 introduced early on in “Come to the Light.” Ballads are where many a metal album loses its footing, but Ledmotiv manages to make “Gem of Amber” just as musically enticing with poignant vocal and violin swells. “The Shadow and the Caster,” the nearly 15-minute centerpiece, is a rockin’ ride where each segment segues into the next, occasionally channeling the wacky energy of Queen’s “Bohemian Rhapsody.” Alas, Ledmotiv does finally begin running out of steam in “Be All, End All” and “Deep in the Cauldron,” both a tad more languid than The Ghost of Carrion needs to be as it crests the 1-hour mark.

Even so, it’s genuinely impressive that Ledmotiv was able to formulate as much stellar material as exists in The Ghost of Carrion. It’s also refreshing to encounter a concept album that largely lets the music do the talking. This is a veritable wellspring of creativity, a rare record that appeals to me just as much now as it would have if I had heard it ten years ago. Anyone else who isn’t afraid to feast on the aural equivalent of fluffy, decadent cheesecake should dive right in. It feels like the sky is the limit for Ledmotiv at this early stage of their career, and I’m eager to see how high they can soar.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: ledmotiv.bandcamp.com | facebook.com/Ledmotivofficial
Releases Worldwide: August 27th, 2026

NIGHTWISH - Amaranth (Acoustic Cover by MELODICKA BROS)

https://www.youtube.com/watch?v=3ZUh2ytFWpI

#NowPlaying #FediRadio #UnoRadio #Music #Nightwish #MelodickaBros

Acoustic Nightwish

Melodicka Bros - Amaranth

https://youtu.be/3ZUh2ytFWpI

#nightwish #acoustic #Music #Feierabendmusik

Kamelot should need no introduction, but this is an article, so they get one anyway. The US-based group have dominated at a crossroads between power, progressive, and symphonic metal for much of the thirty-one years since their debut. I can personally credit Kamelot with breaking me out of my Nightwish-shaped early impression of metal, and I still love their approach to the style; they’ve created their own sound, and they do it well. Over their last few albums, however, Kamelot have sounded a little too much like themselves, with recent releases sounding very much like one another. Whether or not that’s a good thing is up to the individual, but for this reviewer, the question isn’t whether Dark Asylum, their fourteenth full-length, will be good, but whether it will feel new, fresh, or exciting.

Dark Asylum is a Kamelot record, no doubt about it. Seasoned as they are, it’s hard for Kamelot to miss, and their signature sound—that dark, polished power metal augmented by bombastic orchestration and ear-worm choruses—is on full display here. Even the structure of Dark Asylum is typical of Kamelot: opener “Sanctorium” is an overly dramatic intro that probably doesn’t need to be there, and “Ashen World” is mighty, galloping symphonic power metal led by melodic guitar leads from Youngblood and a riveting vocal performance from Karevik that recalls “Veil of Elysium,” though it has nothing on the phenomenal chorus of the title track that follows. It’s a very Kamelot way to open an album: huge choruses of the Haven variety supported by melodic leads that echo Ghost Opera. Throughout, Oliver Palotai’s keys build their own melodies, support the catchy choruses, and add ambience as songs demand. It’s a familiar formula to anyone who’s listened to Kamelot in the last decade, with the same highs and lows as you’re used to.

In fact, it’s so typical of Kamelot’s last decade that I could probably just quote previous reviews to tell you about it. As with The Shadow Theory, Youngblood’s rhythm guitars are increasingly pushed to the background. This weakens otherwise anthemic songs like “One Last Masquerade,” which features Tobias Sammet and subsequently sounds more like a bonus track from Avantasia’s Ghostlights than Kamelot. Also, as with The Shadow Theory, Kamelot’s production of harsh vocals makes them feel superficial; in this case, it’s primarily “Sanctuary” that just kind of has them, though not for lack of effort by Ignacia Fernández (Decessus). Of course, Kamelot still take themselves very seriously, so much so that there’s a 40-second track for Latin singing that may be important for the story, but feels completely out of place as an actual track. Finally, while Karevik’s silky vocals are a terrific match for Kamelot’s music and vision, he still seems to be struggling a little to deliver on high notes, particularly in the chorus of “Godlike Alchemy.”

So it seems Dark Asylum is a familiar story: when Kamelot succeed, they really succeed, and if they could just do it for fifteen straight tracks, their latest could be their best. Although the muted rhythm guitars hold back Dark Asylum as a whole, it has some great highs: “Cassandra’s Disease,” “Ashen World,” “One Last Masquerade,” the title track. But it also has “Beneath the Moon (Tunglið),” a Nordic ballad that feels like it’s on the wrong album1, and “Enigma (Think of Me),” a forgettable power ballad that misses the mark on both sides of that moniker. Dark Asylum works best when Kamelot do what they do best: inspired, memorable guitar leads and soaring choruses. Songs that reach for this but don’t quite land include “Kaleidoscope” and “The Puppet King,” both of which are fine, but leave little impact. Kamelot’s passion for their sound is evident, but consistency in songwriting is something they have, to my ears, struggled with in recent years, and Dark Asylum continues that trend.

Of course, even when Kamelot does miss, they’re still Kamelot, so Dark Asylum has some truly great songs on it. It’s not fresh, though; it’s not exciting. I truly admire Kamelot for the passion they still have for what they do. I was, however, hoping for more than the same album; it now feels like they’ve done thrice before.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: kamelot.bandcamp.com | kamelot.com | facebook.com/kamelotofficial
Releases Worldwide: August 28th, 2026