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Fugazi

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Fugazi last won the day on March 15 2020

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  1. Another new interview with Tuomas on Rock Antenne YouTube channel. The guy has listened to the new album already. It looks like the interview covers some of the same ground as the Sweden Rock article. Some highlights: "The Day Of..." is synth heavy with an 80's vibe. The song is about controlling people with fear, with an optimistic message hidden beneath. The album requires time to absorb but it will be rewarding. The album booklet includes many old-time photos with band members added-in.
  2. Welcome to the forums, Colin the Toffee! You might be our oldest NW fan, but who knows for sure? 😁 It's great that you kept up with the band for so long, many of the Tarja era fans have given up when Anette took over, and not all have returned when Floor joined the band. As far as I know, a server crash in 2015 or thereabouts took care of the Islanders website and forum and they never really recovered from that hurdle. This was the story for many of the early Nightwish forums.
  3. Awesome! The article seems to be behind a paywall, how did you manage to access it? Anyway, I suppose that 'The Day of...' won't be anything like 'You Will Never Be Our God' (Xandria) but it's funny that we get two metal songs somewhat inspired by the same book in the last year. Tongan guest vocalists? Hopefully they used due diligence and hired authentic Tongans and not con artists. 🤔
  4. Part 3: Floor speaks about recording her vocals from home. She mentions that on some songs from the new album she sings faster and also lower than ever before. https://www.youtube.com/watch?v=Rk2qcpv0pPc
  5. Fugazi

    Simone Simons

    This is totally different from the previous single! Very straightforward song, nothing experimental here. Can't help but think that this song comes from a very personal place for Simone, given the rumours of divorce. From Nuclear Blast: SIMONE SIMONS & ARJEN LUCASSEN comment: “The video was filmed in just one take to keep it as pure and raw as possible. We opted to keep it in black and white so as not to distract from the song or the performance. In Love We Rust is quite different from our first single Aeterna, which shows how diverse this album is. This is one of our favourite songs. We hope you love this as much as we do.” Lyrics written by Simone Simons and Lori Linstruth Music written by Arjen Lucassen Koen Herfst – drums Rob van der Loo – bass Arjen Lucassen – guitars and keyboards Video directed, filmed & edited by Patric Ullaeus (www.rEvolver.se) LYRICS : Hold my heart, it’s turning cold Steady me if I lose control I’m torn between the now and then Oh I never thought this love would end Promises we soon forget Angry words we still regret Every day is a brand new war But I couldn’t say what we’re fighting for In love we rust, we turn to dust In love we lie, we don’t ask why In love we rust, illusions crushed In love we hide, in love we die Memories so bittersweet Souls entwined, yet incomplete Holding on to a love outgrown Oh it hurts too much to let it go Building walls with words unsaid Hiding from the truth we dread We once believed we had it all Now there’s nothing left but for us to fall I’m turning cold, I lose control We’ll soon forget, but still regret We once believed we had it all There’s nothing left, we’re bound to fall
  6. Hmm this seems like a new strategy, exclusive NW vinyls at Walmart and Best Buy?! What's the world coming to? 😁
  7. Part 2 is live. Troy speaks about how this album feels like the third part of a trilogy -- which raises the question, what next? Will the 11th album really be thematically different from the previous three, a sort of new era? Possibly not even Tuomas knows at this stage. https://www.youtube.com/watch?v=KB-Vd00vv8k
  8. Super interesting post by James Shearman about arranging orchestra and choirs for Nightwish. https://www.facebook.com/JamesShearmanConductor/posts/pfbid024gmCqxuyQVKwGYFiXZSA4NecNdQ69TyAfjrBx5x4jdRM7mjaHscxbpHq9ajJHyLal The original idea of this post was to give the listener a talk through the orchestral and choral elements that Tuomas and I created for ‘Perfume Of The Timeless’. However, as I sat down to write the post I realised that it needed an introduction; ‘How are the orchestral and choral arrangements created for a Nightwish song? ‘Perfume Of The Timeless’ was actually the final orchestra/choir arrangement I wrote for ‘Yesterwynde'. My process is usually the same before I start on a single note of any arrangement and ‘POTT' was no exception. Firstly I Listen to the demo recording of the song, not over and over at this stage, just a few times to note my reaction to it on an emotional level. So just as a general example; on the first listen I might think; “I love that 2nd half of the chorus, that’s the sweet spot of the song, that’s the peak musical moment for me”, or “that second verse needs more going on in the orchestra, a bigger build“, etc etc. I’m not thinking about the orchestration specifically at this stage, I’m just thinking about the song, how it feels, where the musical sweet spots are for me. It’s really important to remember these initial reactions to the song. I would then just live with the song in my subconscious for a couple of days before speaking with Tuomas. Tuomas makes his own demo recordings for all his new songs. He uses (from memory)a Korg keyboard with a build-in sequencer and he records all the parts himself, one by one until he has all the parts that will eventually be fine-tuned and replaced by the Nightwish band, and his orchestra and choir parts are ready for me to ‘do my thing’ with. All his different parts of the composition are then recorded into a digital recording system called protools, these are then delivered to my assistant Martin Higgins. Martin then has the extremely labour intensive job of transcribing Tuomas’s parts, note by note into a computer music notation system called Sibelius. Martin then sends these Sibelius files to me. So at this stage I have a very basic musical score with all of Tuomas’s parts of the song notated in front of me. The Nightwish band parts are there just for my reference, so I can understand harmonically what’s going on in the song, and more importantly so I can see exactly what the bass guitar is doing, where the lead guitar riff sits in the track etc etc, I’m able to see quickly where I need to stay out of the way of the Band parts. Tuomas is super efficient. He was always very prepared and organised for our orchestration meetings. He knows his own music inside out (not all composers do strangely enough). For each meeting we would discuss just one song and these meetings would always follow the same pattern. 1. Tuomas would talk me through what the song was about, its meaning, its story (he’s always telling a story with music and lyrics). 2. He would then talk through each section of the song in detail, discussing his demo recording of the orchestral and choral parts, what he liked about them, what he didn’t like and what he would like me to add to, improve on, or merely polish. He would ask for my thoughts and opinions on all these points and I would offer my ideas. 3. Finally he would talk through the dynamic shape of the song, eg, how big or small the orchestra and choir should be at certain points in the song. He would ask me to make a certain section of the orchestral arrangement bigger; “could you add some brass and woodwinds to this here please James” or “this should be full-on orchestra here“, “no woodwinds here please, I really like it with just the strings I have”, etc etc. My favourite comment was something along the lines of “this should be the most massiveness of all massiveness James!” Tuomas likes intimate orchestration, you’ll have already heard many Nightwish songs accompanied with just a small chamber string orchestra, but he loves ‘EPIC!’ So do I, but actually there is a lot of skill in creating a good, polished ‘epic’ sound where each section of the orchestra can be heard clearly and with purpose. I am balancing the sound of big forces, a full symphony orchestra of 80 people of more and a choir of 50 singers all playing together, but doing different things. I’m having to get the right weight on the different parts, eg; enough String players on a melody that has to soar over a big French Horn line whilst the Trumpets and low Brass are doing something else and whilst the Woodwinds and Percussion are also doing completely independent things against all this. Of course the epic orchestral and choral sound is historically an important element of the Nightwish sound that began with Tuomas and the amazing Pip Williams. Pip created brilliant orchestral and choral epic sounds on all past albums, it was skilful, original and each element of the orchestra had space to breathe, his orchestration had a sheen and brilliance to it. I conducted the orchestra and choir for all those past albums and it sounded magnificent live in the studio. That sound had to be continued for ‘Yesterwynde’ of course, but after discussing this with Tuomas we decided to try and do it in a slightly more contemporary way. I had lots of new ideas for this approach and I’ll talk specifically about this on ‘POTT’ in a part two post. A major consideration when adding a full symphony orchestra and choir to a rock track is ‘where is all this sound going to fit within the Nightwish band parts?’ If you imagine three different sound frequencies to work in; low, mid and high, the low and mid frequencies are already full with the bass guitar, kick drum, snare and toms, guitars, keyboards and then vocal in the mid to high. So I have to place the orchestra and choir parts in the right frequency ranges so that you the listener can actually hear what they are playing. I achieve this mainly by keeping the low end of the orchestra away from the bass guitar and often having the strings play just above the guitars. There are always exceptions to this such as when the bass guitar is just pulsing (not moving around too much) and we want a heavy and dramatic low sustained brass gesture down there, but generally when both the orchestra and choir are in, they’re up quite high which gives a nice brilliance to the overall sound of the track and the guitars, bass and drums are not muddied with orchestral contrabasses, low brass etc. My job is to solely focus on the orchestral and choir elements, to take what Tuomas has created for the orchestra to the next level, to maximise its effect, make it as exciting, moving, impactful and beautiful as I can, and to make it technically ‘playable’ for real musicians and singers. Within each song I’m sometimes required to create new ideas for the orchestra, not riffs, but bigger symphonic textures. As an example; Tuomas’s might have string parts that I would eventually turn into a full orchestra moment, adding brass, woodwinds and percussion. Other-times I might be required to do very little, maybe just re- voice some strings and polish what Tuomas has already created in his demo. How I decide to do what and when is largely down to experience, my instinct and of course after discussion with Tuomas. The great thing about working with Tuomas is that he is a both a perfect collaborator and gentleman. There is no ego, he is only interested in creating the best possible music that he can. He is an artist. He would always ask for my ideas and listen to my opinions. He is straight forward and he knows what he wants but at the same time is always happy to try new things. Equally, as an arranger I cannot allow any of my ego to seep into things. I have my own ‘sound’ and personality as an arranger, but I’m always aware that I’m there to serve the composition. I am also a composer of my own music and so I have an understanding and appreciation of both roles. Most importantly, when arranging a song; the vocal is king! (Nightwish have a powerhouse of a ‘Queen’ vocal in Floor, her vocals are superb. She has an incredible range that she knows technically how to use). As an arranger I’m there to support the vocal, to weave the orchestra and choir around the vocal, never disturbing the listener with too much going on. I’m there to highlight and punctuate musical phases for added impact, to add a little more interest or colour here and there and to be sympathetic to the song’s story. After I’d completed an arrangement I was able to give Tuomas a decent demo recording of the orchestra and choir parts using all the technology we have at our disposal today. That way he was able to hear a demo of just the orchestra and choir parts for each song and asses things. I would only ever send him my demo if I was really happy with it, he constantly refines his compositions and I also do the same in my work. I would then wait for Tuomas’s reaction to what I’d sent him. Most of the time Tuomas was very happy with what I’d done, sometimes he would ask for some tweaks to things. So after his feedback I would make any tweaks and re-send him my demo, and we would then move on to the next song. We worked like this for around four months. During this period Tuomas was also rehearsing his new songs with the band, Emppu, Floor, Troy, Kai and Jukka all bringing their own brilliant musicianship to the parts Tuomas had originally written for them (these guy’s can really play!). Once the orchestra and choir arrangements were all signed-off by Tuomas and I, my notated scores would then be sent to the music copyist and music Librarian for the project; Tom Kilworth - who’s job it was to print and tape together multiple copies of the scores and parts for over 100 musicians and singers for each arrangement (needless to say he gets through A LOT of paper and ink carriages!). That time scale for ‘Yesterwynde’ was a luxury for me, I’m use to having a month (max) to complete orchestrations for a 80 minute movie score. Eventually I finished the final arrangement for ‘Yesterwynde’ (Perfume Of The Timeless) a week or so before the recording sessions. So I then had a week to get organised for the recording sessions at Abbey Road Studio Two. So that’s the process of ‘how the orchestra and choir arrangements were created for ‘Yesterwynde’. Hope this post was interesting to some of you Nightwish fans. On to a ‘listener's guide to the orchestra and choir on ‘POTT’ in part two next week.
  9. These are good picks. We know that Yesterwynde (the song) is short at 2:43 minutes, so it's probably more like an introduction to the album. Hiraeth has no orchestra, so perhaps not single material. An Ocean Of Strange Islands is 9:26 so possibly too long for a single, but then we just had 8-minute Perfume Of The Timeless. So my guesses would be between 'The Day Of...' and 'The Antikythera Mechanism'... but yeah, just going on a hunch! As for when the next single(s) will be released, I would guess one in July and the other in September just as the album is released. I think there are 3 videos, so I can see them releasing 3 singles and possibly lyrical videos for the rest of the songs as they did for Human Nature.
  10. After South America with Marko in March 2024, and the Rock Meets Classic tour in Germany in April, Tarja did a solo Mexican tour in May, and is now back in Europe for the Summer festivals. Contrary to what was mentioned before, Marko will join her for at least some of the gigs, including the Metalfest show in Czech Republic.
  11. Troy's personal website has shut down in the last few months. It hadn't been updated in years. I guess his social presence currently is on Facebook. https://www.facebook.com/troydonockleyofficial http://web.archive.org/web/20240000000000*/http://www.troydonockley.co.uk/
  12. Yesterday in Eindhoven, acoustic Our Decades In The Sun: https://www.setlist.fm/setlist/floor-jansen/2024/klokgebouw-eindhoven-netherlands-356d18f.html
  13. Marko has also announced he will be part of Raskasta Joulua again this December. Also joining are Tonny Kakko and Elize Ryd.
  14. I don't think there are that many interviews with the mastering tech from Finnvox Studios. Mika covers lots of ground, from his beginnings in music, to starting work with Nightwish in 1997, to the current album and addressing the concerns of some fans about the peculiar mix on POTT. (Spoiler: he doesn't give a fart!)
  15. Take-home message: NEEDS MOAR MARKO. 🤣
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