INFP Profile - Disabledinfo

Source: Disability Information for the Disabled from the Disabled

The INFP Personality: How To Get From The Front Door To The Car


As Introverts, INFPs tend to be quiet and reserved, have few close friends, and expend energy in social situations (as opposed to Extraverts, who tend to gain energy in social situations).

As Intuitives they tend to focus on the 'big picture' rather than the details, and the future rather than the 'here and now'.

As Feelers they tend to rely on a personal, internal sense of right and wrong rather than external, objective criteria. They tend to make decisions based on feelings and social considerations rather than logic.

As Perceivers they tend to withhold judgment and delay important decisions, preferring to 'keep their options open' should circumstances change.


INFP (Introverted Intuitive Feeling Perceiving) From Wikipedia, the free encyclopedia.

Somebody (I don't know who) said that an INFP is someone who gets lost between the front door and the car. I am INFP and that statement describes me very well.

An INFP will know that the car is the goal but will take so many side-trips (physical, intellectual, and emotional) that the car may never be reached.

You might expect, then, that an INFP would be at a total loss for organizational ability. This isn't true, because the less dominant Thinking and Judging functions can be summoned at need to allow an INFP to perform organizational skills.

Calvin of Calvin and Hobbes is often given as an example of INFP. Calvin seems perfectly normal to me. I don't know why people think he's funny. But I recognize Hobbes, the tiger. He's the aspect that surfaces to deal with practical world. The humour is in the extremes. Most INFPs are somewhere along the middle range of Perception.

It is healthy to summon a recessive trait, to awaken a sleeping tiger, in case of need. It is also healthy to restrain this seemingly new power.

Awareness is the key. The business world, in particular, demands Thinking and Judging organizational skills. Under this pressure, an INFP can summon the recessive TJ and place it in the starring role, rather than its natural supporting role.

If the role reversal becomes permanent, the cost to personal satisfaction is too high. INFPs in this situation are likely to have success, money, friends, and misery. They gave the whole show to TJ, who is exhausted, while poor FP starves.

Is INFP handicapped, then, in this highly organized world of ours? Not at all! A good example is my own specialty - what office workers call 'putting out fires.' My INFP plays the major role, flitting from crisis to crisis in true INFP fashion, analyzing and solving them, while my supporting TJ takes notes.

I never go anywhere in an office without a notepad. In truth, INFP carries the notepad; TJ writes in it. INFP deals with the issues. TJ makes and reviews the notes, writes the memos, and keeps the records.

The unstructured job kept me happy as INFP. It's important to distinguish between the kinds of decisions that I was happy with: they were based on long experience in a complicated field with right answers. I knew the right answers.

This isn't the same as making snap decisions in unprecedented situations, which would not be ideal for an INFP at all.

An area where an INFP needs guidance is setting goals. Goals are often built into a job description, which can simplify professional life. On a personal level, however, an INFP might need prodding to set goals and guidance as to priorities.

As their first goal, for instance, many people would write, 'Pay off mortgage.' Mine was 'Swim with dolphins.'

Obviously, a nudge from a counsellor (or maybe a recessive trait) would be useful. The Intuitive function that is so useful to an INFP must be allowed its input to the goal-setting process.

This is why INFP goals may seem a little odd to people who greet the world in a more Sensate manner. The same balance should be allowed in structuring paths to reach goals.

Now that we've set goals and steps to achieve them, we have only to follow the path to the goals. In other words, we have to try to get from the front door to the car. It can be done if INFP is continually hip-checked back onto the path by TJ.

However, completely unrelieved attention to goals will result in a very frustrated INFP driving a car that she has come to loathe. No, INFP must take the detours to meet the world through Intuition, to evaluate by Feeling, and to exercise Perception.

TJ, with the maps, organizational lists, and pie charts, must stand aside. At agreed intervals, TJ can bump INFP back onto the path.

After many happy detours and returns, INFP will succeed in going from the front door to the car - goal achieved!

About the author:
Chris McDonough writes for Good 'Car Reviews' site: 123-Car-Reviews.com
  Chris McDonough


haha ;-D

http://uncyclopedia.wikia.com/wiki/Nightwish

Psykologi-länkar

http://www.socionics.com/sta/sta_turbo_xl.html?I72N22F56p23
http://sokrates.webblogg.se/

Introduction to type : a guide to understanding your results on the Myers-Briggs Type Indicator


Interview with Nightwish 28

Source: Ilta Sanomat

Nightwish-yhtye miettii, miten yleisö ottaa uuden laulajan, Anette Olzonin, vastaan.Kuva: handout
Nightwish-yhtye miettii, miten yleisö ottaa uuden laulajan, Anette Olzonin, vastaan.
Kuva: handout

Tuomas Holopainen:

"Näin hyvältä Nightwishissä ei ole tuntunut vuosiin"

30.05.2007 19:18, päivitetty 30.05. 21:12 

 Tuomas Holopaisen ja Anette Olzonin kasvoilta huokuu helpotus. Nightwishin pahin pyöritys on nyt ohi, ja yhtye voi jälleen keskittyä tulevaan: syyskuun lopulla ilmestyvään albumiin ja kiertueen suunnitteluun.

- Tässä on alkuhuumasta palattu jo takaisin maan pinnalle. Oli helpotus, että salaisuutta ei tarvinnut enää pitää, Anette kuvaa tuntojaan viikko sen jälkeen, kun hänet julkistettiin uudeksi Nightwish-solistiksi.

Myös Holopainen on helpottunut, vaikka:

- Totta kai meitä kaikkia jännittää.

Kukaan Nightwishissä ei voi olla pohtimatta sitä, miten yleisö ottaa uuden laulajan vastaan.

Toistaiseksi suurempaa kritiikkiä ei ole kuultu, joten bändi voi vähän huokaista. Tuomas paljastaa myös, että bändin sisällä asiat ovat nyt tolallaan.

- Vuosiin ei ole tuntunut näin hyvältä olla bändissä. Ehkä olemme kaikki kasvaneet tämän aikana, hän pohtii.

- Liian aikuiseksi ei kuitenkaan koskaan saa kasvaa, Anette virnistää heti lauseen jatkoksi.

Anetten löytyminen ja liittyminen bändiin sekä yhteiset harjoitukset ovat saaneet aikaan sen, mitä kaikki toivoivat. Nightwish on taas bändi.

- Bändin sisällä, poikienkin kanssa, on sellaista tyyneyttä, jota siellä ei ole koskaan aikaisemmin ollut, Tuomas vakuuttaa.

Anette asetti tason

Ruotsalainen Anette Olzon oli yksi niistä henkilöistä, joita jo etukäteen veikkailtiin uudeksi Nightwish-solistiksi. Nightwishissä hän käyttää taiteilijanimenään tyttönimeään. Aviomiehen lisäksi perheeseen kuuluu 6-vuotias poika.

Tuomas kertoo, että Anetten demo tuli bändille heti ensimmäisten kymmenen demon joukossa.

- Se asetti tason kaikille muille. Jo yksi biisi teki vaikutuksen, Tuomas muistelee.

Yhtye kuunteli kuitenkin kaikki heille lähetetyt reilut 2 000 demoa. Lopulta valinnassa oli kymmenkunta sekä suomalaista että ulkomaista laulajaa, jotka kaikki he tapasivat.

Prosessin aikana Tuomas sitten ilmoitti Anettelle, ettei äitinä voi tulla valituksi, sillä bändi oli jo ennakkoon pohtinut olevan parempi, että laulaja olisi lapseton. Päätös kuitenkin pyörrettiin Anetten hyväksi.

- Silloinen päätös oli hätiköity. Olin ylivarovainen, ja halusin minimoida kaikki riskit. Kävimme jo niin reunalla, että olisi helvettiä, jos jotain vielä menisi pieleen, Tuomas pohdiskelee.

Anette pitää outona sitä, että perheellinen nainen ei voisi olla bändin laulaja, erityisesti tasa-arvoisessa Skandinaviassa.

- Ihmiset luulevat usein, että kun on äiti, haluaa vain pysyä kotona kaiken aikaa. Ei se niin ole. Poikani ei sitä paitsi ole enää ihan pieni. Hän on ylpeä minusta ja siitä, että olen bändissä, Anette kertoo.

Pahoista kielistä Anette ei välitä, ei edes kuuntele. Päinvastoin, hän uskoo olevansa esimerkki siitä, että unelmiinsa kannattaa uskoa vielä aikuisenakin.

- Ehkä tämä antaa muille naisille voimaa; asioita pystyy tekemään vanhempanakin ja vieläpä äitinä, 35-vuotias laulaja rohkaisee.

Nöyryyttä, hämmennystä ja harjoittelua

Anette paljastaa olevansa perfektionisti, ja harjoittelevansa koko ajan tulevaa kiertuetta silmällä pitäen. Toki myös koko bändi harjoittelee yhdessä, vanhatkin kappaleet kun on saatava esityskuntoon uuden laulajan kanssa.

Lokakuusta eteenpäin bändi kiertää ensin Yhdysvalloissa, sitten Pohjoismaissa ja lopuksi Suomessa joulukuulla.

Tuomaksen mukaan albumi saatiin valmiiksi viime perjantaina. Se on musiikillisesti Nightwishin raskain ja melankolisin - menneet vaikeudet ovat heijastuneet albumin biiseihin.

- Bändi on hyvin nöyrä, meillä ei ole esimerkiksi suuria odotuksia myynnin suhteen, Tuomas kommentoi.

Netissä julkaistu Eva-single on herättänyt fanien keskuudessa hieman hämmennystä. Popahtava balladi on saanut muutamat pelkäämään, mitä tuleman pitää. Tuomaksen mukaan single ei kuitenkaan anna levystä täyttä kuvaa. Reilut neljä minuuttia kun on vain otos täydestä, yli 70 minuutin albumista.

Single saattaa kuitenkin tuoda Nightwishille uusia kuulijoita esimerkiksi Sarah Brightmanin faneista.

- Monet ihmiset ovat sanoneet minulle, että eivät ole aiemmin Nightwishiä kuulleet, mutta koska single oli niin hyvä, he aikovat hankkia albuminkin, Anette huomauttaa.

Lauantaina Nightwish matkaa jo rapakon taakse. Edessä on videon kuvaukset Los Angelesissa. Videon sisällöstä ei vielä bändikään tiedä mitään.

- Paljastaisin, jos tietäisin! Sain vain tekstiviestin videon ohjaavalta Antti Jokiselta, että käsikirjoitus on valmis ja että siitä tulee helvetin hyvä, Tuomas nauraa.

STT-IS

Interview with Nightwish 29

Source: Ilta Sanomat

Anette ei saa omaa manageria

31.05.2007 06:57 

Nightwishin Anette Olzon ja Tuomas Holopainen.

 Nightwishin Tuomas Holopainen on varmistanut yhtyeen uuden solistin Anette Olzonin kohdalla yhden asian, mikä Tarja Turusen kohdalla epäonnistui.

- Anettella ei ole omaa manageria - eikä tule! Tuomas heittää vain puoliksi leikillään.

Palkkioistakaan ei pitäisi tulla sanomista, sillä ne jaetaan kaikkien kesken.

- Kaikki jaetaan viiteen osaan bändin kesken. Kuten ennenkin.

Uusi laulaja valittiin yli 2000 hakijan joukosta huolella, jotta erilaisten yllätysten mahdollisuus saataisiin minimoitua. Tuomaksen mukaan Anette selvitti itsensä Nightwishin laulajaksi persoonallisuutensa, hyvän itsetuntonsa ja huumorintajunsa avulla.

- Lauluääni tuntui alusta lähtien natsaavan täydellisesti sekä uusiin että vanhoihin kappaleisiin.

Nightwishille oli selvää, että uusi laulusolisti voisi olla mistä tahansa maasta, kunhan hän vain olisi hyvä tyyppi ja erinomainen laulaja.

- Ei tässä ole kyse mistään kansallisesta itsetunnosta. Olemme suomalainen bändi ja meillä on nyt vain ruotsalainen laulusolisti.

Nightwishin musiikissa sulkeutuu Anetten myötä tietty aikakausi. Oopperahevin aika on nyt ohi.

- Kyllä se vähän näin on. Meillä ei ollut missään vaiheessa mielessä, että tahtoisimme toista täysin Tarjan tyylistä laulajaa. Ihan sen takia, että hän teki sen homman niin hyvin. Ei sitä olisi kukaan pystynyt tekemään paremmin.

Merja Asikainen
Anette ja Tuomas IS:n haastattelussa (video 1,)
Anette ja Tuomas IS:n haastattelussa (video 2.)

Nightwish Live » BBKings - NYC - August 22 2004

Source: Metal Underground

Nightwish Review



 

Posted Aug 25, 2004 at 11:24 PM by zMETALlica.

On Sunday, August 22nd I saw Nightwish perform at BBkings in New York City, NY.

I have decided to share my thoughts and opinions of the show with you, so feel free to read it.


In all honesty, there was so much that happened at this show that I couldn’t possibly remember every detail, though I wish I could. Nightwish came on stage and opened with Dark Chest of Wonders from the new album. Let me tell you right now. For those of you who didn’t like the album that much, after seeing certain songs performed live I think highly different of it. Since the songs lacked the orchestra, they felt more metal. I enjoyed hearing it because the songs were done well.

 

The next song played was Planet Hell, which is also from the new album. I actually thought this was a good song off the new album. Hearing it live just blew me away. And the crowd too… it got so crazy the crowd broke through the barrier that kept the crowd from killing me while I was trying to take pictures. They even had two bouncers pushing it back to keep it from falling.

 

A big highlight of the night was hearing them play Phantom of the Opera. This was just amazing. Towards the end of the song Tarja sung this solo similar to what was on the album, but wow, it definitely hit me. I literally had a chill up my spine. She went freaking high. I didn’t know she was even capable of such a note.

 

As for the rest of the set list it included mostly songs from Wishmaster, Century Child, and, their latest effort, Once. It was a good mix of everything. They even played a Megadeth cover, Symphony of Destruction. This song was really brutally slaughtered by Nightwish, in a good way. Mind you that Tarja wasn’t singing and Marco was. First off I prefer Marco as a singer than Dave Mustain, but that’s my opinion of course. Some people love Mustain’s voice, and might find this performance of Symphony of Destruction an insult to Megadeth. I think they did a good job. Emppu even pulled a good solo.

 

One thing I really enjoyed about the show was to see Tarja head banging and ‘windmilling’ with her hair. That’s something I don’t see often from female vocalists. The whole band in general had some good stage presence, even the drummer. He was doing some stick tricks, which probably nobody noticed, since they more were focused on Tarja. Last year I saw Nightwish and they weren’t nearly as good as they were this time. Part of this is because they had a more varied set list and better sound. I think the main part is that they are that little bit more experienced as a band. Also Marco is still new to the band and that one-year makes him and the band feel more comfortable with each other.

 

The only negative was that they didn’t play anything from their first two records. Overall it was one of the best concerts I’ve been to, very positive crowd and great music.

 

 

Nighwish had several US dates remaining with Lullacry in support:

 

8/28/2004 Cervantes 7 S. Broadway, Denver, CO
8/30/2004 Cajun House 7117 E. Third Ave., Scottsdale, AZ
8/31/2004 House of Blues - Anaheim 1530 South Disneyland Drive, Anaheim, CA
  9/2/2004 House of Blues - L.A. 6255 Sunset Blvd., Hollywood, CA
  9/3/2004 Slim's 333 Eleventh St., San Francisco, CA
  9/5/2004 Graceland 109 Eastlake Ave. East, Seattle, WA

 

Pictures source:

Lullacry - Nightwish (New York NY) Nightwish - Nightwish (New York NY) Nightwish Marko And Zack D - Nightwish (New York NY)

Interview with Nightwish 30

Source: Metal Underground



Posted Aug 25, 2004 at 11:43 PM by zMETALlica.


On Thursday, August 19th I had the pleasure of interviewing Marco (bassist) and Emppu (guitarist) of Nightwish. I brought my friend, Marina, along with me cause she wanted to ask some questions too... and for support. We arrive about 40 minutes later than we probably should have due to traffic, we left like 3 hrs before scheduled time. We were lucky because the people who helped put this together were nice and very helpful. The interview was conducted in a conference room. Most of the conversation was between Marco and I, but Emppu and Marina had some important comments. It seemed like they were nervous and excited as well as us. Overall I had a great time even though they aren't the lead members of the band. I actually think this was good because I got a different perspective of the band. They were funny guys and there was laughter throughout the whole interview. It was definately a positive experience. I hope you enjoy reading it.

Zack (zMETALlica): What kind of musical education did you receive prior to Nightwish?

Marco: Well I guess I started beating up my father’s old acoustics when I was like 11 or 12. After I played for a couple of years, I got a personal tutor for a couple of years then went into musical college where I studied some musical theory and classical guitar. So there’s the basic education I had, though I had some lessons after that, but it was some pop jazz concert stuff, which wasn’t my thing anymore. I had an hour lesson a week, or a couple, and I kinda figured out that I figured things out faster than they could teach me. Then I just started playing with the bass and that sort.

Zack: Did you learn more on your own than you were taught?

Marco: Na, I think with the musical theory thing, I think that was the useful stuff along with the acoustic. I’ve been playing bass in different bands before, almost since I started. The knowledge has given me a perspective of how I should write bass lines and how to keep up the melodies and keep up the pump and the rhythm and understand the whole thing, how it grows up to guitars and keyboards and vocals and all that stuff. So it was useful time.
Emppu: Hmmm. I guess I picked up my first acoustic guitar when I was 11 and I played at home very many hours every day. I didn’t really have any formal education.

Zack: What do you think of bands that start with nothing and then get signed to a major label and then blow up and top the charts selling millions of records, while you guys work very hard to get where you are now. Does this make you annoyed or just don’t care?

Marco: It depends on the band. With some groups you hear great stuff. And some well yeah… with this business you have to be at the right place at the right time. There’s a lot of luck involved. Some people have had more luck than others. There’s also some stuff that I hear that sounds like it has just been hyped up and all that shit. But anyway you gotta have the perspective to find out what’s valuable and what’s not.

Zack: Recently I read on some news sites that one of Nightwish’s records went “gold” and “platinum” in other countries when only a few thousand records were sold. In the US it is only after a million that albums are considered “platinum” worthy. Any comments on this?

Marco: Hmmm well it’s a new area for us, so everything is like starting over again. I don’t really don’t’ know what to expect. It takes a lot of luck, you gotta be at the right place at the right time. The band is good, everyone knows how to play their stuff. And we can get pretty heavy and convincing on stage, if you come see us we will blow you away. If it depends on us, we can do it, but it depends pure luck and other things, so I just don’t know.

Zack: When comparing the last 3 albums there has been a continuing evolution and change of sound. Personally I feel evolution of a band is a good thing. What are some of the thoughts and ideas that helped create these past two albums that inspired such a change? Of course it would be easier if Toumas was here…

Marco: …Probably, but the basic idea of what he had there was for the band to grow. If you talk about the album and how the sound has developed and its kind of a maturity. If you can talk about mature things with these guys… and me included… but it’s more than just the music that’s maturing, it’s also the ambition behind it that has grown. I guess you gotta top the things that you have done before. And I mean every time. Some more things will change in the future as well.

Marina: So you mean you will just keep switching your sound and your not looking to stay with one ‘sound’?

Marco and Emppu: No.

Zack: Do you think Nightwish will go back to any of the styles in the days of Ocean Born or Angels Fall First with that softer sound?

Marco: Maybe, but I think its more a question of what kind of songs Toumas will be writing next time. And then when we get together to rehearse we’ll get our input down.

Zack: And how much is that?

Marco: We wrote some stuff, and it depends on what kind of stuff we come up with sometime in 2005 or 2006 and at that time we can see if it comes up to our personal standards and see if its worthwhile doing. And decide what kind of topics we’re gonna have, and how much orchestra and how much all that… it might be simpler next time or it might be more over the top it could be a combination of the two.

Zack: After toping the euro-charts, how do you feel about your new album being leaked onto the Internet? Do you think this helped promote the album and increased sales, or just hurt it?

Marco: My opinion is that I’m happy.

Zack: Are you happy that people are downloading it, or are you happy that people are still supporting you?

Marco: Yeah, I’m happy about people buying into the thing and supporting the band and getting to the shows and all that. Downloading of course is kind of like a two edged sword. I mean I know that there are people who are poor and after all the main thing about doing this thing is trying to do something that would impress people and make them happy, so in that way its really a two edged sword. There’s a lot of risk making this album we paid for the masters and all that ourselves and for the video we paid for half of it. So I don’t really feel comfortable ripping off our work.

Zack: What about when people randomly download music and finding out how amazing the music is and then go out and buy the album.

Marco: That way it helps the band as promotion, which is the positive end of it.

Zack: You recently changed record labels. Why?

Marco: Well I guess you would have to ask our management about that, but I guess there was a lot of negotiation (laughs)

Zack: Was there a problem with the label? Did you want more exposure that Roadrunner has?

Marco: No, actually we had many labels offer deals, but Roadrunner seemed to be the best because they seemed like a big metal label in the US and they seemed the most promising and convincing.

Zack: Any hopes for the new album with the new label?

Marco: Yeah for it to be big. (laughs) I hope they can use their experience in the US to bring the band over here.

Zack: How does your band stand out from the rest of the bands in your ‘genre’?

Marco: In all ways. We have a certain groove in it that has become a kind of melodic symphonic gothic metal to speak for it, but it’s also just a rock and roll band. I think we can hit really hard when we do things live. I think with every band that has grown to be something big, you gotta know how to rock.

Zack: Do you guys play any video games or anything?

Marco: Yeah, I just played probably like 4 hours with my game boy advance game on the plane ride here to the states. It was some old Sega RPG that was reissued for the game boy advance.

Zack: Believe it or not, there are actually bands out there in the US, and even in Europe, that cover music from video games. Would you ever consider doing something like this with Nightwish?

Marco: I don’t think I’d ever cover the music straight, but sometimes I hear some things I hear some things that I have to admit I’ve tried to rip off.

Zack: Having a female singer in the band can create more attention to her from the media. People will see her and think ‘oh she’s hot this band must be good’…

Marco: Well she is (everyone laughs)

Zack: Well yeah but how do you deal with that, that she’s getting all the attention, if she even does?

Marco: Quite a lot actually.
Emppu: It gives us more time to drink beer.
Marco: It makes things easier for us.

Marina: So you guys did not have any problems with that, you aren’t in any situation where you wish you were more involved with the media?

Marco and Emppu: Naw...
Marco: Its important to realize the the real ethics of the band and how it works. I think without the voice and the face of Tarja there would be no successful in our band.

Zack: How would you define talent?

Marco: (pause) Give me three more of these (pointing to his beer) and still be able to play some Black Sabbath.

Zack: Do you have a personal meaning or connection from making music and touring? For example spreading a personal message.

Marco: Na not really.

Zack: Could you speak on Tuomas’ behalf since he writes the songs?

Marco: I think it’s the same thing with him as it is for us, but the lyrics he writes is very personal. I guess we’re just in this to do a good show, you know for the people to have a good time.

Zack: So it makes you happy when you see your fans happy?

Marco: Yeah I mean it’s the big thing. It’s the best thing you can have when you get on stage. It’s like hey you’re in the palm of my hand, THIS STAGE IS MINE! And that’s a great thing to feel.

Zack: When you go on tour in other countries you may not know the language that well. How do you relate to the fans?

Emppu: We have to speak only in Finish.

Marina: So you never had trouble with the fact that you couldn’t really communicate with the fans?

Marco: Umm no. Hold on I have to think back…. No. No.

Zack: How often does the band practice together?

Marco: Well not that much. I think we had a really good session right before we started the album and then we had some really good sessions before we started the tour… we haven’t really practiced together, which is a shame because it would be nice to have everybody living at the same place. Living closer together everybody could get together and play.

Zack: When starting up did you have any troubles meeting?

Marco: Well you gotta have a pretty good time schedule. We all live in different cities different heights.

Zack: Does Toumas have any certain method of writing each song that is used? Does he use anything to help him do this, such as a computer?

Marco: Well he uses a lot of red wine when he composes. He mostly uses the keyboard to write, but I think the main thing about the new album is that he wrote a lot of the music playing guitar and he’s said it himself that he’s a lousy guitar player, so he’d play really simple on every riff, so that’s how some of the stuff came to be. I don’t think the songs are lousy, just simple and heavy.

Zack: Do you collaborate on any songs as a band, or are the songs mostly prewritten and presented to the band to add in their ideas and opinions?

Marco: That’s mostly the way things happen, he has the whole idea of most of the song and he brings them to us and then we see how well it fits to our style. We change a few things here and there. The arranging of the songs happens together as a band when we rehearse. I had a few ideas for like 3 or 4 songs for the last album, so I ‘demoed’ them, and they eventually gave seeds to our new songs. I picked up a few things from a guitar riff for Romanticide

Zack: Do you write your solos?

Marco: Most of the solos aren’t written, we just take good things out of the air.

Zack: What is the inspiration for Creek Mary's Blood, the song is quite different from anything else they've done, why did Tuomas choose to write a Native American themed song.

Marco: (sighs) Where’s Tuomas. We’ll he’s been reading a lot about things on that subject matter. And we’ve talked about it. You have to admit it was tragedy that these two cultures come together and they don’t really understand each other. And it ends up being a massacre and a war and all that. So about the history and this tragedy, I guess he was touched and wanted to write a song.

Zack: Do you still practice or experiment with new techniques to gain skill and knowledge as musicians?

Marco: Yeah, but having the twins its hard, I gotta wait til they take day naps cause when the evening comes they’re asleep and your tired yourself. I’ll play some guitar and bass then. But not enough, I’m rusty.
Emppu: Yep.

Zack: How do you deal with touring when you have a family? Do they come with you on tour?

Marco: Na, we don’t have that kind of money to bring them along. We’re here with just us guys and one girl. Sometimes it’s really hard the little boys are up to the age where they understand that I’m going away. And they say “pappa don’t go,” but a man’s got to do what a man’s got to do.

Zack: Do you have any advice for a band that’s just starting up? Musician?

Marco: Get a real job, like my father. Seriously though, you really gotta have ambition and you gotta have guts and do it well. There’s too many people trying to do it now. So persistence and guts is everything… almost everything. You gotta have some talent.

Zack: Recently a few shows were cancelled in the current tour, does complications like these occur often in the bands career?

Marco: No, not that I recall. Though getting to the US these days is a bit more difficult. Last year when we came to Atlanta and NY to play, our guys at management had an agency that helped us. We had to pay a certain amount of money per person and they would help getting the people there faster. This time we got the papers forward between march and may. The agency said it would be ready in about four or five months, they said it would be ok and they would come in time, but they didn’t.

Zack: Any similar problems happen with the recording process of the latest album, or any album for that matter?

Marco: No, the studios have been very friendly to us.

Zack: What was it like working with the orchestra?

Marco: Hmm no, we really didn’t get to see the orchestra. But I can hear from the quality of the recording and the playing, that it was a good one. When we were rehearsing we asked at times what Toumas was thinking about to have there or is there gonna be any orchestra there? Or why did you have it like that. We had the band at full force even though we didn’t really know what was gonna happen during the orchestra parts, but we knew something was gonna happen.

Zack: How do you feel about playing at a different venue than last year, since that venue closed down? Do you prefer large venues (outdoor) with big crowds or smaller venues like clubs?

Marco: I do like small clubs myself. You see people drinking beer and you smell the sweat, the blood, the atmosphere, and the smoke, which you don’t have anymore here in New York. But anyway I like those situations: it’s an intimate thing. But then again I also like playing festivals that have tens of thousands of people where you have a big crowd and a big stage where you can walk all over and be like hey, again, this is my stage. My opinion about playing at a different place in New York is that you get familiar with one place and to get to know the people working there, and at times playing there, so its hard.

Zack: I actually had two of my friend’s bands opened for you last year, Operatika and Divinity Destroyed.

Marco: Ah, well I saw those names, but I can’t remember who they were.

Zack: Did you listen to any of the opening bands? Or were you getting ready the whole time?

Marco: Well I went out there a couple of times. But it was a bit impossible to stay out for a long time, so I just went back stage and had a few beers.

Zack: What was the worst incident that happened during a performance?

Marco and Emppu discuss the question in Finnish.

Emppu: Ok, well maybe three years ago. We had some gig in Mexico I think, and Tuomas had this keyboard and there’s this demo song. And he accidentally hits the start button. And this demo song starts rolling. And everyone is like, “what’s this song what’s happening?”

Marina: Do you make any decisions on the art of the cover of the album?

Marco: No.

Zack: When you were starting out did you have a ‘dream’ or ‘goal’ as a musician?

Marco: Be able to impress people with the few simple things I do.
Emppu: Be loud and heavy.

Zack: Was there any point in your career where you thought that the band wouldn’t make it? If not what gave you constant faith?

Marco: Eh well myself I can tell that I’ve had none but then again I joined the band two and a half years ago. So this is the first time I ever made something. No not really. I’ve done things a lot and at some point in time with different bands I have seen that things are opening up, but it doesn’t go over well because of bad tidings, bad friends, bad managers, etc.

Zack: What bands or person do you look up to in the music industry?

Marco: Cliff, the bass player from ACDC and Geezer Butler from Black Sabbath.

Zack: Would you ever plan on working with anyone, aside from Nightwish, in the future?

Marco: Well I’ve done bass playing for other people, but no one I’d really like to play with.
Emppu: I have a couple, but I think they’re not that great.

Zack: So what can be expected of the band in the future: New record? More touring? Sound?

Marco: No rest til 2005 or 2006 maybe.

Zack: What do you plan on doing after that?

Marco: Well my passport runs out then, so I plan on renewing it.

Interview with Nightwish 31

Source: Bravewords

BW&BK Exclusive: NIGHTWISH Founder On THEATRE OF TRAGEDY Celebrating 15 Years - "Good Stuff Throughout Their Career, Aegis Being My Favourite Album"

Posted on Saturday, December 06, 2008 at 07:13:47 EST

BW&BK recently issued a special report on THEATRE OF TRAGEDY, who are celebrating their 15th anniversary. NIGHTWISH keyboardist/founder Tuomas Holopainen, who credits the band for inspiring him as an artist, recently spoke with BW&BK scribe Carl Begai about the TOT influece:

"Theatre Of Tragedy was a big influence to me at the time when I was starting with Nightwish, together with other female-fronted metal acts like THE 3RD AND THE MORTAL and THE GATHERING," Holopainen reveals. "What really got me into them was the heavy use of keys (laughs) and the Shakespearean lyrics. Written so beautifully, yet it took me hours and hours with a dictionary to make any sense of them. And it was actually Theatre Of Tragedy which made me read half of Shakespeare´s plays, and making me a fan of his work! Good stuff throughout their career, Aegis being my favourite one. Oh, and the music video for 'Image' really gets under your skin."

Check out the interview with Theatre Of Tragedy drummer Hein Frode Hansen here.

Theatre Of Tragedy - 'Lorelei' (audio)



Theatre Of Tragedy - 'Venus' (audio)



Theatre Of Tragedy - 'Image' (video)

Interview with Nightwish 32

Source:
 

Interview
Tuomas Holopanien
Nightwish
Nightwish
Lineup:
Marco Hietala - (Bass /Vocals)
Jukka Nevalainen - (Drums)
Anette Olzon - (Lead Vocal)
Tuomas Holopainen – (Keyboards)
Emppu Vuorinen - (Guitar)
 

Dark Passion Play Tour
Nightwish

Paradise Lost

House of Blues

10/27/07

Interviewer: Erika Kristen Watt

"Anette is down to earth, a warm storyteller. That’s the difference. Both are equally beautiful and passionate."

Tuomas Holopainen speaks like a man on a mission. He chooses his words carefully like a politician and just as diplomatic when faced with the trite questions that come with the territory. Along with that observation, I also gathered that just this very evening, new singer, Anette Olzon is not “polished perfection” as her predecessor but Anette is very real and was a pleasant treat. The band isn’t as “keyed-up” as they once appeared to be before. Today, they seem down right…friendly?!? Nightwish’s keyboardist wears his emotions on his sleeve. Lucky for us we can hear him sort out his inner workings on such tunes as “Whoever Brings The Night” and the latest, "The Poet and The Pendulum" off of their 2007 Roadrunner release Dark Passion Play. Tuomas is also a shy and reserved musician with a sly childlike demeanor. Lucky for me I encountered him when he wasn’t too afraid to let himself speak freely about some feverishly passionate conversation. Read on…


Erika: Congratulations on Dark Passion Play and welcome.


Tuomas: Thank you very much.


Erika: I understand you played Tel Aviv, Israel recently? So what exactly is the climate right now for your type of music at the moment?


Tuomas: They say that metal is underground over there but it was still like 3500 people there. A sold out show…


Erika: That’s a pleasant surprise!


Tuomas: Yea, very nice passionate crowd. I guess that’s something to remember.


Erika: Did you take away any special memories with you from the experience?


Tuomas: Well, one of them was that everybody was like, to the bone, shit scared because it was the first show we ever played with a new lead singer and with a new album. So there was a lot of excitement. Then the performance wasn’t the best possible one because it was the first but the people really liked the show. They were so awesome and excepting. I only saw one middle finger out of the 3500 people (laughter) so the percentage was pretty good!


Erika: Needless to say it was a success! So, do you find US gigs to be much more challenging due to the fact that Nightwish isn’t that well known here?


Tuomas: I take it on the contrary actually, because we are not well known here so it’s more relaxing actually. That’s why we wanted to start up the tour in the US for a couple of weeks so we can get the routine and not to be so scared because there are many loose factors still in the band; with the new songs, with the new singer, getting her in. So, just felt that it would be, safer to start it here.


Erika: It makes sense.

 Anette Olzon of Nightwish (Photo: Erika Kristen Watt)

Tuomas:  It was definitely a good choice because everybody is having a wonderful time at the moment. The shows have been fantastic. The people here have been fantastic. And she’s [singer, Anette Olzon] clearly relaxing already.


Erika: Very good! So, the audiences have been excepting of her so far?


Tuomas: So accepting, it’s over whelming! I mean it seems that the people have so much more faith in the whole thing than the band itself. [Chuckles] Because we were not sure at all but like the response from the fans and the shows, the record sells have been better than ever before. It’s really encouraging.  


Erika: How much pressure is there to make a good impression on American audiences on a whole?


Tuomas: We really don’t take pressure out of anything because it’s a very simple fact, you just go there and do it the best you can. Just love the music and play and see how far it gets you. We’re putting much more focus and emphases on this tour US/North American because we really haven’t had the chance before and also I personally take it as a challenge because in Europe everyone says the US market is the hardest market in the world to conquer. So if you can accomplish even something here, you get a ‘pat on the head’. Challenge is always good.


Erika: Yes it is. Now you started your tour here in Springfield….


Tuomas: …Virginia just next to Washington D.C.


Erika: So the audiences have been O.K., so far so good. With the new material?


Tuomas: Yeah, it’s really fun to see the reaction, you know when she comes on stage everyone’s like [wide- eyed stunned look on his face, laughs] especially when she sings the old songs, everyone is as silent as mice and you know after a couple of songs everybody’s singing along and excepting.


Erika: With each album there’s evolution and a more mature sound. Everything on Dark Passion Play seems so big and orchestrated, where will Nightwish’s musicianship take you?  How do you feel you and your band have evolved as musicians to date? 


Tuomas: I’m very proud about the fact that we have always been able to developed the music also without loosing the sole image of what the band was originally suppose to be. No album sounds alike but that you can always hear, this is Nightwish and I hope we can develop that progress for the future as well. Where we’re going to go for now, I really don’t have a clue. If you talk about the shear massiveness of the music, I think we pretty much hit the top with this album. [Laughter]


Erika: Yeah I would say you touched it!
[Laughs]


Tuomas: The album is a never-ending story. Really long and complicated songs and just full of, “stuff”.


Erika: How is it performing some of those newer tunes live considering how ‘big’ it needs to be to come across live?


Tuomas: Yeah, there’s only so much I can do with three keyboards and two hands! [Laughter] I wish I had fifty hands but thank God for technology. I mean it’s solely orchestras and choirs are there played from the tapes. That’s the only we can do it.


Erika: Snapshot in time, what have you learned about yourself and your band mates as musicians over the years since Nightwish’s conception?


Tuomas: Earlier you mentioned the word mature. I think everybody’s growing up. There are five very different individuals in the band. Being together for over eleven years, you pretty much get to know the person. You have to have, for example while on tour, you need to have a strong psychological eye. To say the right thing at the right time and something’s just shut up and leave the person alone. So you really need to read people.


Erika: It’s like extended family members.


Tuomas: It’s a marriage between five people and even more if you include the technicians, merchandisers and everybody involved.  It’s like a fragile community. I say this once more, the psychological eye. You need to have that to keep the whole package intact.


Erika: What do you think you’ve learned Marco?


Marco [Hietala, bass/vocals]: Huh?!


Erika:
[Mocking, laughter all around] Since you came in for a smoke now you have to be sucked in! What do you think you’ve learned about your bandmates since Nightwish’s conception?.


Marco: The basic thing is, to have a good bunch. For myself, at least for me, it’s really important to be good friends. We get to do what we love. And to last in this industry you need to have good chemistry with the people you make music with. That helps a lot. It’s good for the soul. [Tuomas agrees] And also to have a good sense of humor it’s essential. To laugh and get along with each other, it’s long lasting.


Erika: Thank you for that. Now, on to Anette, when did you know she was IT for Nightwish?


Tuomas: We knew the 29th of January of 2007. [Chuckles]


Erika: You remembered the day of?


Tuomas: Oh yeah, we took our time. It took about 14 months altogether to choose a singer out of 2000 candidates.


Erika: Was it her performance or her singing that…


Tuomas: It was basically two things [Serious] It was her personality combined with the voice. Then in addition to that it was practical things like good English speaking skills, being able to go on a long tour. Hopefully having the mentality for it. But basically it was the personality, the chemistry we all shared and the voice, which as always wins.


Erika: So, what kind of experience has she had in the industry before joining Nightwish?


Tuomas: Basically she has been seen all her life. She has been in this AOR band called Allison Avenue, which put out two full-length albums. A lot of like Prog/Tech bands, she has been in an ABBA musical singing Agnetha’s [Fältskog vocals] parts and a lot of wedding shows. Everything except metal, so it’s a new thing for her.


Erika: So, she’s holding her own in the whole metal arena so to speak?


Tuomas: Yeah, I think it’s only an advantage that she hasn’t any pervious experience so she can start off a clean table.  


Tarja Turnen ex of Nightwish
Erika: And what a table to start off on. [Laughter] So, just how brutal were the fans/critics of the band when you had to part ways with Tarja [Turunen]?


Tuomas: [Sighs heavily] That era will remain as the worst nightmare of my life of 2005. I have to admit I was really, really childish thinking it would not start so much turmoil. I just thought okay one band member change is basic. But it was like a sledgehammer to the face when it came to people’s reactions, the media and everything. I mean, you can’t imagine what it was like in Finland for a few months [nervous laughter], 


Erika: Oh I’m sure!


Tuomas: I mean the Prime Minister had a comment to say about it. It became a national tragedy!


Erika:
[Appalled] What was the Prime Minister’s comment?


Tuomas: Well, he was just saying something pretty diplomatic, I not going to take sides. It’s all really, sad. But on every single talk show they were talking about it. It was like the main headline on the news for many days. National news! I mean, people are dying in the Far East and other political news, we hit the number one news story!  ‘Nightwish fires their singer!’ Ugh, it was horrible.


Erika: How did you bounce back from it?


Tuomas: Writing the songs, it was really my escape from all of that because that was definitely the hardest part of it all, just to face the media, face the writings and everything. It was just really, really cruel. And I just like shut myself away from the world. Literally. I remember in December of 2005 there was a period of two weeks where I didn’t leave my house. I didn’t go outside. I was just doing the songs. And I really felt good about doing the songs. The song writing process has never ever been so easy. And I think it has to do with the fact that it was the only escape from all of that. It’s also the reason, I think that’s why this album is so dark.

 

Erika: I think that’s okay because in a way you’re exorcising your demons so to speak.


Tuomas: That’s what it’s all about for me. Writing songs for me is like my defense mechanisms against the world. Which drills a hole into my head to let those demons out of it. It’s also a way for me to cleanse myself because every morning I wake up and look in the mirror and see that I don’t like that guy at all. He has been given so much more than he deserves in the world. I have always had low self-esteem and don’t like myself that much as a person so… for example, the first song off the album, “The Poet and The Pendulum”.


Erika: Truly a beautiful song.


Tuomas: It’s my favorite too. Thank you. It’s a song about being happy with yourself. And to actually kill yourself in a song is quite therapeutic! [Laughter] I would never ever consider doing that actually, I love life. I think the world is a beautiful place. But sometimes you just feel so bad about life and about yourself. I just feel really blessed that I have this channel to do that. It really involved me to get older. 


Erika: Well, I’m glad. Onto more positive stuff… What does Anette possess as a vocalist/performer that Tarja did not possess?


Tuomas: I’m getting really, really careful about not comparing those two. One wrong word and it’ll hit the tabloids. [Laughter] but if I have to say something, I’ve used the metaphor that, Tarja was singing incredibly beautifully like a cold mountain stream but Anette is down to earth, a warm storyteller. That’s the difference. Both are equally beautiful and passionate.


Erika: Very eloquently put!


Tuomas: I have to be careful. We’re still treading likely. There was like this really small Internet TV interview in Norway that I did. I said, ‘Sex is a really overrated thing.” During the next week it was in 17 tabloids.


Erika: Nooo!


Tuomas: Yesss! [Laughter]


Erika: Okayyy, but it’s true though!


Tuomas: Yes but it was ‘Nightwish says sex is an overrated thing.’ It was like everywhere! So I am a bit cynical about everything I say. People say you shouldn’t care but I always care. I could never not care, you know?


Erika: Good, you feel deeply about it. Remorse is a noble trait to have. There’s always a steady dose of symbolism in your lyrical content, a lot of romantic nostalgia if you will. Being the mastermind behind the imagery of the band, what inspirations do you pull from?


Tuomas:  It’s very much an expedition for me. I’m just trying to escape the world and I’m in search of a perfect world, the most beautiful girl and in search of a perfect love. I’ve been looking all of these things for thirty years and never found them. So, the search goes on.


Erika: How difficult is it to introduce new elements of music in order to keep it fresh & awe inspiring for yourselves? It seems that when musicians try to introduce a new facets of their muse, the fans are so critical of what is you’re creating. How do you introduce new things and still keep it ‘old school’?


Tuomas: It’s actually quite easy. The key element to everything is not to calculate anything in advance.  Calculating in advance alters the magic. I personally never think about the fans or the media when I write songs. I don’t even think about the other members of the band. That’s really, really selfish, I know but that’s also a way I keep the music pure and honest. So far it’s worked out.


Erika: Recording at Abbey Road Studios…Tuomas Holopanien of Nightwish at Abbyrd


Tuomas: Oh yeah! [Laughter]


Erika: Tell the truth, how intoxicating is it to orchestrate scores of musicians to work on YOUR music, something you produced? What was it choirs, orchestras…


Tuomas: Yeah, we had classical choirs, gospel choirs and an orchestra. Great musicians. It was so amazing. I really don’t now how to say it in words. Maybe I should write a song about.


Erika: Ohhh, I hope you would!


Tuomas: [Serious] Yeah… Imagine 120 guest musicians and they were playing the songs that I had done and playing them so passionately and so genuinely into it. You could see there were people headbanging while playing violin! After every take we would listen and we would say this is good stuff. These are people who have played in the Lord of The Rings movies, Tim Burton movies, and James Cameron movies. They have seen a lot and still they get so thrilled about this heavy metal band from Finland. It’s the most flattering thing to have happen. It’s not so much the studio. Abbey Road is one of the most legendary studios in the world. There’s definitely an atmosphere over there. You can sense the spirit of The Beatles. But for me, what impressed me the most were the people and their musicianship and their devotion. The gospel choir sessions for example, you rarely meet such pure beings as those people were.       


Erika: Were they based there? Were some from Finland and flew over?


Tuomas: They were all from London. All local musicians.


Erika: Was it overwhelming at times or was it business as usual?


Tuomas: No, it was overwhelming. There was a strong sense creation in the studio. You could feel something big was going on here.


Erika: Were there many people helping you? Was the band present as well?


Tuomas:  There was just one guy Pip Williams from London. He did all the arrangements for the orchestra and the choir. I really don’t know how to write much so we hired a team to do that. 


Erika: How long does it take to develop a song?

Nightwish Dark Passion PlayTuomas:  It differs so much. Writing songs for an album takes about a year.  For example from the new album Dark Passion Play I think I was doing Meadows of Heaven for months. I wasn’t happy with it. But I spent two hours on Amaranth. It really differs.


Erika: Some flow faster than others do.


Tuomas: Yeah, like “Creek Mary’s Blood” the Native American Indian song from the pervious album, even though it’s like a nine-minute epic it was done in three hours. Sometimes it just takes you a while.


Erika: What albums and/or person influenced you to become the musician you are today?


Tuomas:  Umm, I used to play the clarinet and the classical piano. My mom was a piano teacher so she was the one who started it all. 


Erika: How old were you?


Tuomas:  I was six but uh this is not a dream come true for me. It’s not like I wanted to be a musician all my life. The clarinet was not my cup of tea as well. I like playing the clarinet, I like the piano but I had my heart set on biology and natural sciences.


Erika: Really?


Tuomas:  Yea, I always wanted to be this mad scientist. Traveling about the world and examining stuff. Charles Stalling was my biggest hero back then in a way. Then by accident I discovered that making songs was actually a lot of fun. This is something I’d like to do. No regrets.


Erika: Good. You chose well. Are you as passionate about every other thing in your life as you are your compositions?


Tuomas: [Long silence then laughs] You have to give me an example.


Erika: You said earlier that some mornings are just hard. But what is it in your life that moves you to the next plateau. How do you bring that into your compositions?


Tuomas:  Writing songs and playing them is a way of life for me. It’s all I want to do. That’s really all I can do.  I breathe this all the time. That’s really everything I have in life. I have a mom and dad. Brother and sister and these guys around me. Other than family I don’t have anything else to be passionate about. Except Disney. [He looks shyly]


Erika: Did you say Disney?


Tuomas: Yes [laughs] I collect Disney memorabilia and stuff. I’m a huge Disney freak. [Laughter] I don’t think I’m a passionate person…


Erika: You don’t do you…


Tuomas: Ah, let’s say I have really, really big emotions within. I feel the beauty and the love. I feel the world very strongly but I don’t really know how to deal with it. And many times I’m also really mad at somebody in haste and I really don’t know where to channel that either. The only way to do that is to write a song like “Master Passion Crete” or write “The Poet and the Pendulum”. If I fall in love with a girl, you know it’s really hard for me to approach her but maybe I’ll write a song. [Laughs] This is for you. So, that way passionate, yeah but other than that, no.  


Erika: Have you ever composed anything for any other bands or do you solely write for Nightwish?


Tuomas: Two times. First one is the Finnish artist called Timo Rautiainen I wrote the song for his solo album Child of the Silent Winter [Hiljaisen Talven Lapsi] and it was in Finnish. The other one is from this new Finnish movie called Lieksa and I wrote like a theme song for it. It’s on the B-side of the Amaranth single. Those are the only two I’ve ever done.


Erika: Would you want to delve into it further?


Tuomas: I would like to do soundtracks. I mean, music for films is something I would really, really like to do.


Erika: If he could commission another band to cover a Nightwish song, who would do it and which song would it be?


Tuomas: I would like Vangelis to do “The Poet and The Pendulum”. Do you know him?


Erika: No.


Tuomas: He’s a Greek film composer. You know Chariots of Fire?


Erika: Yes.


Tuomas: Well he does the theme song from that [Sings] and he has done Alexander. He’s like one of my biggest musical idols.


Erika: Okay, Finnish 101. Could you describe what "sisu" is to our American audience and does everyone possess it?


Tuomas: Yes that’s a very characteristic trait for a Finnish person. That should be translated like guts. We are very persistent people. Pretty much everybody has it.


Erika: Really?!


Tuomas: Oh yeah, there’s this mentality, that I will do this by myself. Don’t help me. Don’t dare help me! Something between stubborn and persistent.


Erika: Favorite Finnish childhood story?
Tuomas Holopanien of Nightwish at Abbyrd


Tuomas: There’s like this book “Christmas Tails” by this very famous Finnish writer from the 19th century. I remember reading his works as a kid. I’m also a Christmas freak. I love the season.


Erika:
[Laughs] Why?

Tuomas: There’s a lot of magic in it.


Erika: Literally! Favorite swear word? Meaning and spelling.


Tuomas: [Chuckles] I have to be really boring. It’s the most commonly used one, vittu. Fuck.


Erika: Favorite pick up line but in Finnish?


Tuomas: [Hearty laugh] I don’t know you’re asking the wrong guy! Really. Sorry.


Erika: What would complete you as a musician? As a person?


Tuomas: Balance.


Erika: For both?


Tuomas: Yeah for both. I’m the most unbalanced person in many ways. That’s what I’m also looking for all the time.


Erika: But you will. You will.


Tuomas: I hope so.


Erika: What’s the one thing that people wouldn’t know about you that you wouldn’t mind sharing?


Tuomas: Um, this is like interview 460-something in the past three months so I think I have pretty much told everything. [Laughs] It’s really hard to come up with anything new.


Erika: I’ll let you off the hook. What would you like the music community to remember about Nightwish?


Tuomas: I’d like us to be remembered as maybe something at least a bit original and unique with a strong sense of honesty and big, big none calculated emotions. We never want to be political or we don’t want to make a statement that’s nothing that we’ve ever done or will do. So I want us to be remembered as a band who makes music with big, big emotions.  


Erika: And any special messages for your fans?


Tuomas: Thanks for having the faith more than we ever did because like the last two weeks have shown us that they are still there. Stronger and in larger numbers than ever before. So really a sincere thank you. 

Thanks to Toumas and the rest of the Nightwish camp for making this interview a possibility! 



Interview with Nightwish 33

Source: Kerrang!

Ultima entrevista en Kerrang

Esta entrevista salio en el ultimo numero de Kerrang en españa, hace poco los chicos estuvieron en Madrid.

Es evidente que NIGHTWISH, se han convertido en una de las bandas más importantes de la actualidad, gustos y opiniones de cada uno aparte. Después de la expulsión de Tarja, toda la polémica, problemas, conjeturas, rumores... en septiembre se editará el nuevo álbum, "Dark passion play", el primero con la nueva vocalista del grupo. Para hablar de todo esto estuvieron en Madrid el teclista, principal compositor y líder de la banda, Tuomas Holopainen, y la nueva cantante, Anette Olson. Durante 40 minutos estuvimos hablando con ambos y aclarando muchas dudas sobre el más inmediato pasado y sobre todo presente y futuro de la banda finesa. Tuomas, más comedido y lacónico, aunque me pareció bastante sincero, y una muy simpática Anette, respondieron sin pelos en la lengua a todas nuestras preguntas:

- Empecemos con lo que supone la entrada de Anette Olson en el grupo... Está claro que no queríais una vocalista con tono operístico, ni una voz híper poderosa, y sobre todo que no queríais seguir exactamente con la misma línea vocal marcada por Tarja hasta ahora. Habéis apostado por una voz muy bonita, preciosa, angelical, suave, muy melódica. Es algo que claramente se escucha y aprecia en este álbum…

Tuomas.- Bueno, cuando comenzamos a buscar lo único que teníamos claro es que no queríamos una nueva cantante con el mismo entrenamiento clásico de la anterior, aunque realmente no teníamos una idea predeterminada de cómo debía ser la nueva vocalista. Simplemente comenzamos a escuchar las demos que teníamos, a probar cantantes... Cuando Anette llegó, nos gustó mucho su manera natural de cantar, todo funcionó muy fácil desde el principio, y es que hay mucho calor en su voz y eso me encanta. En mi opinión, es tan potente como Tarja pero de una manera completamente diferente... La voz de Tarja en NIGHTWISH era dramática, preciosa, fría, te hacía soñar y la de Anette es más cálida, más humana y real, más cercana a las historias del disco, por decirlo de alguna manera, y para mí esa es la diferencia.
Nightwish

- ¿Quieres añadir algo a esto que ha dicho Tuomas, Anette?

Anette.- Creo que lo ha definido muy bien, con bonita palabras, jaja. Yo creo que si tienes que sustituir a una gran cantante como es Tarja, necesitas hacer algo totalmente diferente, porque sustituirla sin más es imposible. Yo soy muy diferente a Tarja, vocalmente hablando, si lo quieres llamar así soy una cantante más "melódica" como decías, pero NIGHTWISH es una banda muy melódica con lo que yo creo que mi voz y la música del grupo suponen una buena combinación.

- Anette, la pregunta es obvia, y todo el mundo te la habrá hecho y te la hará. ¿Cómo se va a acoplar tu voz suave y "no operística" a los temas cantados por Tarja, donde sobresalía su voz de soprano y su punto más poderoso?... especialmente hablando del directo, claro.

Anette.- Básicamente voy a intentar que los temas estén bien para mí, que suenen lo mejor posible pero con mi voz, porque ya te digo que sería absurdo tratar de imitar el tono de Tarja. Ella tiene una voz clásica de ópera y yo no, como te decía, pero en las canciones, los arreglos y las melodías no son de ópera así que lo puedo hacer con mi voz.

Tuomas.- Sí, porque nosotros no queremos olvidar las canciones anteriores con la entrada de Anette. Hasta ahora sólo habíamos hecho juntos algunas canciones de "Once" durante el proceso de audición, como "Nemo" o "The siren", o algún otro tema como "Ever dream" y su voz sonaba realmente bien en estas canciones. A partir de este punto yo creo que sólo tiene que pensar en que nos encanta su voz en esos temas y no tratar de comparar con la de Tarja o imitarla porque no hemos buscado eso en ningún momento.

- Me da la impresión que queríais una cantante más en onda Candice Night de BLACKMORE'S NIGHT o Maggie Reilly, quien cantó el "Moonlight Shadow" de Mike Oldfield.... ¿Por qué?... Evidentemente Anette posee una voz muy personal, ya lo se, salta a la vista, pero son inevitables las comparaciones…

Tuomas.- No exactamente. Yo quería una cantante con una voz versátil, eso era lo más importante para mí, que pudiera cantar perfectamente con una voz realmente suave pero que si necesitaba usar la fuerza también llegara sin problemas, porque hay muchas canciones antiguas que requieren un tono vocal realmente poderoso, porque siempre ha sido una de las "marcas de la casa" de NIGHTWISH, como "Wishmaster" o "The kinslayer", canciones altas, potentes y que dan directamente en la cabeza. Te aseguro que hubo candidatas realmente fantásticas pero lo que nos hizo decidirnos por Anette y no por otra fue que ella era la que transmitía más poder, la que era más convincente tanto a la hora de "acariciar" como para transmitir poder.

- Imagino que desde el principio, las comparaciones con Tarja han sido inevitables. ¿Cómo te has enfrentado a esto?, ¿cómo has llevado las comparaciones vocales con tu predecesora?

Anette.- Sobre todo he intentado no pensar demasiado en ello y no obsesionarse con cómo serán las cosas una vez que estemos de gira. Lo que me hace sentir más segura es que ya hemos ensayado bastante y me siento en una banda realmente unida, dónde se me ha aceptado muy bien y esto me ha hecho sentir muy bien y quitado mucha presión. Ahora tengo que hacerlo lo mejor que pueda aunque para mí ya es importante el que nadie en la banda me haya pedido competir con lo que ha hecho Tarja o algo así y me permitan ser yo misma a todos los niveles.
Nightwish

- Supongo que en las pruebas y en las múltiples demos que os enviaron habría decenas y decenas de "clones" de Tarja y la mayoría de las aspirantes serían sopranos o mezzo sopranos… Imagino que fue difícil escuchar todas las demos, el proceso de selección, decidir si queríais una voz diferente o no... ¿Cómo fue todo esto y sobre todo el decantarse por un tipo de voz tan diferente?

Tuomas.- Bueno, el tema no fue que desde el principio buscáramos algo totalmente diferente a Tarja porque recibimos un montón de material de gente que cantaba como ella lo hacía y había voces realmente impresionantes. De todas formas, sí es cierto que rechazamos directamente todas las que nos parecían clones de Tarja porque ella ya lo había hecho tan bien que no queríamos lo mismo. Fue divertido, pese a todo, escuchar todas las demos porque nos sentimos de algún modo como en un "NIGHTWISH idols" ("American Idols" es la idea original y la variante norteamericana a nuestro "Operación Triunfo" , y había, por ejemplo, demos de chicas de 13 años que de algún modo era como su sueño de ser famosas o algo así, y bueno, muchas veces nos quitaba agobio y era hasta relajante el oir ciertas demos.

- ¿Y tú Anette, trataste en algún momento de enviar material intentando cantar como Tarja, se te pasó por la cabeza, o desde el primer momento intentaste ser tú misma?

Anette.- ¡No!... Cómo ha dicho Tuomas, Tarja tiene un talento extraordinario, es una cantante realmente excelente y para mí no tenía sentido tratar de convertir mi voz a un tono clásico. Yo puedo usar un pequeño toque clásico pero creo que mi forma de cantar es otra... Simplemente traté de cantar con mi voz y les gustó, pero nunca traté de imitar a Tarja.

- Por cierto, ¿hubo algún candidato masculino interesante y con serias posibilidades? Lo digo con todos mis respetos hacia Marco…

Tuomas.- No, no, no se me pasó por la cabeza ni una sóla vez. Es que ya tenemos un cantante masculino, uno realmente bueno, pero desde el principio de la banda, NIGHTWISH se ha caracterizado por una voz femenina y de ninguna manera vamos a abandonar esto porque entonces no sería NIGHTWISH. De todas formas, entre las más de 2.000 demos que recibimos, sólo hubo 3 de cantantes masculinos y las desechamos directamente porque no era lo que estábamos buscando.

- Hablemos ya del disco. Sinceramente, es un excelente álbum. Sigue un estilo evolutivo perfecto en comparación con "Once"; no es un salto demasiado brusco en comparación con él, pero sí hay detalles y temas que dejan claro que ésta es una nueva etapa, independientemente de la entrada de Anette, lo cual influye, pero no lo es todo…¿Cómo es para tí, Tuomas, este "Dark Passion Play"?

Tuomas.- Sí, me parece interesante lo que comentas porque ya he oído bastantes comentarios sobre que este disco es completamente diferente a "Once" pero yo no lo considero así en absoluto. Para mí es una secuela completamente natural de lo que fue el disco anterior, parte de los mismos pasos aunque está claro que también tiene muchos nuevos elementos porque nunca hemos hecho un disco igual, o incluso una canción dos veces. Yo pienso que siempre hay que seguir explorando nuevos territorios pero partiendo de una base. Ya el cambio vocal es lo suficientemente grande para que la música no cambie demasiado directamente... Ahora mismo estoy realmente satisfecho y emocionado con cada segundo del nuevo disco, no puedo decir otra cosa. Quizás sí me preguntas dentro de un par de años le saco fallos o te doy una opinión diferente pero, a día de hoy, me parece un disco realmente bueno.
Nightwish

- Anette, no sé si eras seguidora de la banda previamente pero sí me interesa tu opinión como "fan", como mera oyente, sobre el nuevo disco...

Anette.- Bueno, no había oído demasiado a NIGHTWISH anteriormente pero sí he escuchado muchas veces todos los discos de la banda ahora. Para mí, lo más importante es que creo que la banda sigue manteniendo ese punto especial y ese aura que te envuelve exactamente igual que en el primer disco en el 97, pero en cada nuevo disco han ido incluyendo algo nuevo. Por ejemplo en "Dark passion play" han sido los toques celtas y étnicos, además de una canción acústica como es "The islander"... Es un disco muy variado, creo que es la principal característica, la variedad musical y de sentimientos que contiene... hay alegría, tristeza, enfado... de todo un poco.

- Los fans de la banda están expectantes, deseosos de que este sea el mejor álbum del grupo. Para muchos, lo fácil y directo hubiese sido que este CD incluyera temas directamente herederos de "Wishmaster", "The Kinslayer", "Bless The Child", "The beauty and the beast"… pero de repente se han encontrado con un single que es casi una nana y después con un disco tan variado como "Dark passion play?... ¿Cómo están siendo las primeras reacciones y opiniones tanto de los fans como de los periodistas que ya hayan podido escuchar el disco?

Tuomas.- Para la mayoría está resultando un shock positivo. Seguro que la primera vez que lo oyen es como "¿qué está pasando aquí?, ¡es demasiado para asimilarlo!". Es que son 75 minutos de información, mucho material y muchas canciones y todo el rato pasando cosas, multitud de detalles, te hace levantarte como cien veces, sentarte otras tantas... Es un gran paquete de música y creo que quizás la primera vez apabulla un poco y lo dejas, pero luego te pica el gusanillo, vuelves al disco y la magia comienza... Pero vamos, la mayoría de reacciones están siendo realmente positivas.

- Estoy de acuerdo con lo que dices porque este álbum es uno de los mejores de la banda para mí, pero no enamora a la primera escucha. De todas formas, dicen que los buenos libros y películas son las que te enganchan poco a poco. Escucha a escucha, pero no a la primera, este disco finalmente resulta soberbio, pero no es un disco fácil...

Tuomas.- Sí, sí, absolutamente de acuerdo, no es un disco de una sóla escucha. Yo tengo una máxima a este respecto y es que si un álbum me engancha al 100% en una primera escucha, para mí ese disco es realmente aburrido, al menos a nivel de compositor, por eso cada trabajo de NIGHTWISH es siempre mi pequeño reto... Es que para mí en estos días el mundo está lleno de mierda, y a nivel musical más que nunca. Ahora parece que vale con que una canción o melodía te enganche y para mí no es así, tiene que ocurrir con todas las canciones. Ya te digo que es un reto pero es algo de lo que me siento realmente orgulloso con respecto a los discos de la banda.

Anette.- Estoy totalmente de acuerdo con Tuomas. Si un disco es demasiado fácil o pegadizo desde el primer instante algo falla. Por ejemplo me pasó con "Once", que tiene ese punto accesible en un primer momento, pero lo vas escuchando y tiene más y más cada vez. Antes de "Once" también ocurría, pero especialmente desde este disco la música de NIGHTWISH ha crecido hasta límites increíbles y es imposible sentir lo mismo que la primera vez cada vez que escuchas los discos, porque siempre descubres algo nuevo.

- Tuomas, te felicito por las excelentes orquestaciones, (muy difíciles de llevar al directo), especialmente las de "The Poet And The Pendulum" ¿en qué medida definen el contenido o son una característica esencial del álbum?

Tuomas.- Lo primero es decir que yo creo que la orquesta es parte de la banda, parte de las propias canciones. No es como el caso de METALLICA, por ejemplo, que hay unas canciones y después hay metidas unas partes orquestales para adornar una base original. No, en NIGHTWISH las orquestaciones ya son parte de la propia canción desde el principio. Ha sido así desde que comenzamos aunque nunca hemos tratado que esas orquestaciones se puedan llevar al directo al 100% o que lo pueda tocar todo con mi teclado porque para ello necesitaría 100 teclados y 100 interpretes y eso es imposible.
Nightwish

- Hablando de "The Poet And The Pendulum", ¡enhorabuena! Es uno de los mejores temas de vuestra historia. Es ¡impresionante! Háblame sobre esta canción en cuanto a su concepto musical. ¿Cómo fue compuesta y cómo te llegó la inspiración para crear esta "mini obra maestra"?

Tuomas.- La canción la compuse en una época en la que estaba en un estado mental algo diferente a ahora, con mucho odio, en la que no había más que discusiones y por eso es una historia triste de algún modo. Lo más importante era el conseguir que una canción de 14 minutos no resultara aburrida y además el hacerla muy real, interesante al oído, que se pudiera casi vivir, y eso ha sido un reto y creo que es la mejor canción que hayamos hecho nunca en mi opinión. Tampoco te puedo explicar mucho más porque creo que lo mejor para entenderla mejor es leer las letras. Especialmente con esta canción me gustaría que la gente la escuchara leyendo las letras porque así entenderán mucho mejor el sentido de los efectos, orquestaciones, emociones, partes teatrales y demás.

- ¿Y para tí, Anette?... me imagino que tuvo que ser impresionante encontrarte de repente con una canción de esta magnitud. ¿Te asustó de alguna manera?

Anette.- ¡Uff, puedes estar seguro, jaja! Son como varias canciones dentro de una misma canción, y tiene muchos sentimientos y emociones diferentes expresados en los 14 minutos, y a su vez es muy seria. Es una pieza musical realmente preciosa, y especialmente me gusta la parte final que es una pasada.

Tuomas.- Es que el final de un tema de 14 minutos tiene que ser grandilocuente y emocionante. Aunque sea el primer tema, para mí es el punto álgido de todo el disco.

- ¿Cómo lograste indicarle a la orquesta que grabó sus partes qué es lo que realmente querías de cada uno de sus músicos y cómo debían entender el concepto de esta canción?

Tuomas.- Sí, fue algo difícil pero más bien ha sido una colaboración muy intensa con el tipo que ha hecho todas las orquestaciones, el señor Pete Williams, que ya hizo también las orquestaciones de los discos anteriores para NIGHTWISH.

Lo que hicimos fue una demo muy profesional con todas las canciones y con las partes orquestales grabadas con teclados. Entonces, escuchando la demo con Pete en mi casa es cuando íbamos diciendo "quiero esto aquí" o "quiero esto allá". El tema es que estuvimos insistiendo mucho en esto, y la verdad es que durante 5 o 6 meses me llamaba un par de veces al día en plan "¿qué es esto?, ¿qué es aquello?, ¿lo puedo hacer así?...", ya sabes. Todo fue sobre todo hablar y hablar, y pensar y pensar. También es cierto que él aportó muchas ideas, además de las que yo tenía inicialmente y las que fueron surgiendo durante el proceso... Tengo muy claro que él es el hombre perfecto para hacer este tipo de cosas con NIGHTWISH y alguien que entiende perfectamente lo que quiero y lo que le estoy tratando de esplicar en cada momento.

- Aparte de la maravillosa "The Poet And The Pendulum", hay otras tres canciones que hacen que este CD sea uno de los mejores de la banda. En mi opinión éstas son claramente: "Bye Bye Beautiful", en onda "Wish I had and angel", "Amaranth", con cierto toque THE CORRS en su estribillo, y "Cadence Of Her Last Breath", otro "temazo" melódico y muy bien construido, donde se nota la evolución comercial en el buen sentido de la palabra de NIGHTWISH. Por favor, háblame de ellas.

Tuomas.- Ok. "Bye, bye beautiful" está obviamente dedicada a Tarja. De lo único que tengo algún remordimiento con respecto a esta canción es que yo siempre he dicho que nunca iba a hacer un mismo álbum dos veces, o a grabar dos canciones especialmente similares, y efectivamente ésta me recuerda demasiado a "Wish I had an angel".

Amaranth" va a ser el primer single, además del adelanto de "Eva", pero el single es "Amaranth". De todos modos, no es una de mis favoritas del disco e iba a ser inicialmente un bonus track pero, después de oír la canción ya con la voz de Anette, cambiamos totalmente de opinión. Cambiamos un poco la línea vocal y el estribillo y nos quedó un buen tema pegadizo pero que no molesta por excesivamente comercial y creo que finalmente es un tema realmente bueno para ser single.

Cadence of her last breath" es personalmente el tema que menos me gusta del disco, de hecho, para mí es la peor canción de "Dark passion play". No sé exactamente porqué pero no me llega del mismo modo que el resto de temas del disco. Lo veo más cercano a la escena americana de metal gótico y al final pienso que no merece tanto como los otros temas el estar en el disco.

Anette.- Sobre "Bye, bye beautiful"... no me interesan demasiado los motivos de los que habla así que bueno, prefiero interpretarla a mi manera y también es que la parte más agresiva del estribillo la canta Marco así que para mí es otra buena canción del disco, nada más. A mi no me parece una segunda "Wish I had an angel", pero entiendo perfectamente que otra gente pueda compararlas. De todos modos, creo que tiene un gancho especial y es muy directa.

Amaranth" es... no sé, pegadiza como el pegamento, y a mí me transmite felicidad cuando la escucho y me encanta que finalmente y ya con mi voz quede como una canción importante del disco.

Cadence of her last breath" sí es una de mis favoritas así que tengo una opinión sobre esto diferente a Tuomas... y creo que esto está bien porque si a nadie de la banda le gustara no habría estado ahí. Además, fue una de las primeras que canté en mi primera demo con los chicos, por lo que es un tema especial para mí. Casi ¡un año después! desde que la canté por primera vez (se ríe mucho al decir esto, no sé si por la referencia temporal con todos los rumores de los últimos meses y hace un año que la candidata estaba elegida...) me sigue pareciendo que tiene una letra preciosa y que mantiene ese gancho que le vi inicialmente.

- "Master Passion Greed" con partes thrash metal, está más cerca del repertorio de TAROT que del de NIGHTWISH… ¿Cuál es la "historia" de este tema y su inclusión en el álbum? Me imagino que gran culpa de ello habrá tenido el bueno de Marco…

Tuomas.- Sí, debía estar un poco loco cuando hice esta canción, jaja. Supongo que de algún modo necesitaba expulsar todos esos sentimientos negativos que tenía dentro, como dejar de echar sal a la herida, tan simple como eso. La idea original fue la de incluir voces más suaves como contrapunto también, pero sí fue Marco quien me pidió cantar este tema así, que era mejor y definitivamente estaba en lo cierto.

- ¿A que se debe el estilo folk, lo celta de temas como "The Islander" y "Last of the Wilds", en una onda más BLACKMOORE'S NIGHT o JETHRO TULL que NIGHTWISH, (lo digo especialmente por "The Islander" ?

Tuomas.- Sí, especialmente en lo referente a JETHRO TULL tienes toda la razón. Queríamos tener este tipo de influencias célticas en el disco y usar incluso ciertos instrumentos celtas también, porque es algo que si que no habíamos hecho antes. De todos modos, fue casi por accidente que las cuatro canciones que contienen estos sonidos sean precisamente las últimas, pero me gusta porque le da un punto al disco casi dramático, un final más colorido que me encanta.

"The islander" es un tema hecho por Marco y es absolutamente uno de mis favoritos personales del álbum. Es algo que creo que no habíamos vuelto a hacer desde el primer disco, una canción tan acústica... y "Last of the wilds" es como la continuación natural, y sin duda la canción más alegre del disco. Supone de algún modo una mezcla entre Irlanda y Finlandia porque, por un lado, está la guitarra de Emppu, junto con los versos marcados por las gaitas y flautas, además de los sólos con instrumentos finlandeses.

- La suavidad y toque delicado de "Meadows Of Heaven" (tema fantástico) o "Eva", y otros fragmentos muy suaves y melódicos, junto a la voz de Anette, muy suave, dulce y melódica hacen que este disco de NIGHTWISH posea ciertas concordancias con los inicios de THE CORRS, mezclados con lo que Mike Oldfield hizo en su etapa más melódica y comercial. ¿Qué opinión tienes al respecto?

Tuomas.- Bueno, puede ser, pero es que siempre hemos tenido una parte bastante suave y melódica en nuestra música. El hecho de hacer una balada interesante es algo que me resulta muy duro y por ejemplo creo que no acertamos con las baladas de "Century child" por ejemplo, que eran muy pobres en mi opinión. En "Once" sí había un par de buenas baladas pero creo que en este caso hemos acertado al 100% con "Meadows of heaven". Pienso que es la mejor balada que hemos hecho en nuestra carrera, además del final perfecto para el disco, después de doce canciones que hablan de odio, melancolía, tristeza... y creo que un tema como "Meadows of heaven" te aporta ese punto de esperanza y alegría para terminar.

Anette.- A mí ambas baladas me parecen excelentes. Siempre es difícil hacer baladas y yo mismo he sufrido en las bandas en las que he estado anteriormente ese problema de que suenen bien, que transmitan cosas y fuerza, que no queden demasiado suaves... "Meadows of heaven" es simplemente celestial y es la canción que más me ha tocado del disco y estoy totalmente de acuerdo en la reflexión de Tuomas sobre que aporta esperanza al final de "Dark passion play".

"Eva" es preciosa, brillante, un trozo de corazón... He leído comentarios de alguna gente diciendo que no es un tema muy bueno y es algo que no puedo entender porque me parece una maravilla.

- ¿Qué es lo mejor de las guitarras de este álbum?, ¿qué opinas del sonido de guitarra del disco?... por un lado es muy poderoso, pero por el otro aparece ese punto más suave y melódico que creo que es un contrapunto muy interesante...

Tuomas.- Lo primero es decir que la mezcla que habéis podido escuchar en las copias promocionales no es la mezcla final que va a salir a la venta, porque mezclamos otra vez el disco completo pero una vez que ya se habían enviado los cd's promocionales, así que hay ciertas cosas que serán un poco diferentes finalmente a lo que habéis oído en primera instancia. Para mí lo importante es que todo se presente perfecto en un paquete completo, aunque ese no es mi trabajo sino el de Mikko Karmila que es quien lo ha hecho en los estudios Finnvox. El caso es que no sé exactamente qué ha hecho finalmente Mikko con el sonido de las guitarras porque eso ya no ha sido cosa mía. Os podré decir en unos días cuando reciba la copia final.

Anette.- Pienso que ha habido un balance muy bueno. En mi opinión, al menos en la última mezcla que yo escuché, las guitarras son incluso más poderosas y claras que al principio. Creo que el trabajo de guitarras de Emppu en este caso es soberbio.

- Para terminar tengo una serie de preguntas más cortas... La primera... ¿Qué tienes que decir de tus teclados?

Tuomas.- Es curioso porque por momentos se puede pensar que dónde están los teclados porque está delante la orquesta. Lo que quiero decir es que, aparte del piano, a veces es difícil escuchar los matices del teclado en "Dark passion play", pero el caso es que cualquier cosa, por pequeña que sea, de las orquestaciones, tienen su base en el teclado y además están dibujadas por el mismo teclado. De todas formas, el teclado está ahí en todo momento, aportando fuerza y matices a la orquesta, sólo que a veces no se puede percibir en una primera escucha.
Nightwish

- ¿Cómo definirías el trabajo de Marco en este álbum?

Tuomas.- Mejor que nunca antes incluso. En todos los sentidos, como cantante y como bajista se ha superado totalmente.

Por cierto, Anette, ¿cómo es para tí el compartir las tareas vocales con alguien tan distinto como Marco?

Anette.- Yo era pequeña y Marco ya estaba girando y haciendo voces heavies con TAROT... Ya entonces me gustaban las pocas bandas que compartían voces o que tenían dos cantantes y cada canción variaba según cantara uno u otro, como KISS, por ejemplo. Estoy deseando compartir el escenario con Marco... de hecho, la primera canción que ensayamos juntos fue "Wish I had and angel" y funcionó realmente bien... Además, me vendrá muy bien para descansar por momentos y eso, jaja. Para mí es genial el compartir canciones con Marco.

- ¿Y que piensas de tu propio trabajo en el disco?

Anette.- Realmente me gusta y eso que yo soy muy crítica con mi trabajo, soy muy exigente conmigo misma. El caso es que no hay nada en este disco con lo que no esté satisfecha. Estoy realmente contenta porque he podido trabajar con unos chicos tan profesionales y que me han ayudado tanto que sólo puedo estar satisfecha y agradecida.

- ¿Y tú, Tuomas, que tienes que decir sobre el trabajo de Anette?

Tuomas.- Es perfecto y estoy totalmente satisfecho con todo lo que ha hecho, no cambiaría ni una nota. Además, es muy interesante para saber qué se puede hacer en el futuro porque ahora tengo una pista maestra sobre las posibilidades que su voz aporta a la banda y sobre lo que Anette puede hacer. De cara al futuro su opinión y su voz será mucho más importante a la hora de componer el material porque esta vez obviamente no ha sido así desde el primer momento porque el material ya estaba casi todo compuesto antes de que ella viniera al estudio. Mi sensación es que queda mucho NIGHTWISH por explorar y por hacer en próximos discos con Anette en la banda.

- ¿Cuáles serán los dos primeros temas del set list de la gira?

Tuomas.- No lo hemos decidido todavía porque, de hecho, todavía no hemos hecho ni un sólo ensayo de cara a la gira en sí, pero os puedo asegurar que serán dos temas del nuevo disco.

- ¿Y seréis capaces de empezar con "The poet and the pendulum"?

Tuomas.- No, eso sería demasiado para el principio. Creo que el primer tema tiene que ser una pequeña patada en la cara... Sí tenemos planeado tocar "The poet and the pendulum" en los conciertos generales de la gira pero no al principio...

Anette.- En mitad de los conciertos creo que estaría bien, jaja.

Tuomas.- El caso es que en la gira llevamos un ingeniero de sonido y no hay problema, pero piensa en un festival dónde no puedas probar sonido y no haya un técnico de sonido nuestro y que tengas que empezar con un tema tan complejo como "The poet and the pendulum"... ¡uff!, yo no lo veo, jaja, sería demasiada responsabilidad.

- Anette, ¿qué tema del anterior repertorio, interpretado por Tarja, te parece el más difícil de cantar?

Anette.- Hmm, no lo sé... es que todavía no he ensayado todos con la banda con lo que con algunos temas todavía no lo he intentado. No lo sé, supongo que los difíciles que haya que cantar al final del concierto, jaja. No puedo decir una en concreto porque hasta ahora los que hemos ensayado han funcionado bien y con la mayoría me he sentido realmente cómoda y con la voz en buen estado así que no debería haber problema con ninguno.

- Llevas muchos años cantando en bandas pero para el gran público eres totalmente nueva. Explica cómo eres en el escenario, ¿cómo es tu actitud en directo?

Anette.- Bueno, depende del tipo de tema que esté interpretando. Yo siempre he usado bastante mímica, pero depende también del tipo de música, aunque siempre me ha gustado esa manera de expresar los temas con tu cuerpo y movimientos además de con la voz. De todas formas, puedo volverme totalmente loca en el escenario o puedo estar realmente tranquila, dependiendo de lo que esté cantando, ya te digo. Lo que no me gusta es hacer cosas preparadas, simplemente ya veremos en los ensayos lo que va saliendo y de qué modo me sale a mí misma expresar esas canciones... También hay que ver la conexión con los chicos, ver cómo se sienten ellos... No lo sé, será espontáneo y natural, eso seguro, por eso no te puedo decir nada seguro porque todavía no hemos llegado a ensayar lo que serán los conciertos completos.

Tuomas.- El caso es no pensarlo demasiado porque, para mí, una de las cosas más ridículas en directo es planear lo que haces a nivel de movimientos y demás. En los 80 se llevaban mucho las poses, movimientos acompasados con las guitarras... pero, por favor, estamos en 2007 y no en 1982. Desde mi punto de vista, nunca más.
Nightwish

- Entonces, ¿ no estáis ensayando movimientos o colocaciones o algún tipo de coreografía para el directo?... Lo digo sobre todo porque muchas partes del disco son bastante teatrales y quizás elementos tipo bailarinas o algo así podrían quedar interesantes en los nuevos directos.

Tuomas.- No, coreografías no. Lo que tenemos a este respecto son luces, proyecciones, pirotecnia... Es lo que tenemos planeado pero no de movimientos de los músicos u otra gente en el escenario.

- Ya hay muchas fechas publicadas en vuestra web, pero de momento no se sabe nada de nuestro país. Es claro que pasaréis por España, pero, ¿cuándo está previsto?

Tuomas.- Tenemos planeados 40 conciertos en el show europeo, que comenzará a principios de febrero, con lo que estaremos por España a principios de marzo de 2008. Hasta el momento están contratados 3 conciertos en vuestro país pero todavía no sabemos exactamente dónde o si serán recintos grandes o más pequeños. Es pronto aún para eso.

Anette.- Yo espero que sean sitios grandes... pero iré donde los chicos me lleven, jaja.

Interview with Nightwish 34

Source:

Tuomas: Sus experiencias personales.


Gracias de nuevo Katheryna  

Tuomas Holopainen (Octubre 2006)


Fuera del escenario, Tuomas holopainen es conocido – al menos al rededor de extraños – por ser poco sociable y timido. Sin embargo, el jefe de Nightwish se siente a gusto en esta entrevista, y comenta su primera presentacion musical; su experiencia traumatica en el ejercito finlandes; y su entusiasmo por las boy bands, juguetes de disney, y conmovedoras escenas de peliculas.

Tuomas, donde y de que manera te criaste?
Me crie en una granja en los bosques de Kitee, un pequeño pueblo finlandes de 10.000 habitantes. Aun vivo ahi. Tuve una infancia muy feliz y tengo recuerdos muy queridos y especiales sobre las epocas navideñas. Provengo de una tipica familia de clase media. Mi madre es maestra y mi padre es un ingeniero. Mi hermana es doctora y mi hermano es patologo.

Eras un nerd o un maton en la escuela?
Yo era un absoluto estudiante modelo, siempre obtenia buenas calificaciones y me gradue con un 9.8 (de 10). La escuela jamas fue un problema para mi; siempre me deviertia aprendiendo nuevas cosas. No era un nerd ni un inadaptado. Me gustaba estar solo pero tambien tenia buenos amigos.

Como fue que te interesaste en la musica pesada?
Pase un año en America como estudiante de intercambio, y en octubre de 1992, la familia que me acogio me llevo a un concierto de Guns n’ Roses y Metallica en la ciudad de Kansas. En esos tiempos yo escuchaba mayormente musica pop. No me podia relacionar en realidad con el heavy metal. No necesito decir que no me entusiasmaba mucho la idea de ir a este concierto. Afortunadamente, la familia me convencio de ir. Estaba extasiado desde la primera nota que toco metallica. Sonara tan cliché, pero desde esa noche me transforme en un fan de metal. El show de Hetfield y compañia fue lo mas genial que habia visto en mi vida. Al dia siguiente me compre la discografia completa de metallica. Estaba completamente infectado. Poco despues, descubri a Ozzy Osbourne, Pantera y Dream Theater.

Cuando fue tu primer concierto propio?

Mi primera presentacion fue cuando tenia 9 años en un concierto musical de mi escuela. Toque el piano y el clarinete. Tambien estuve sobre el escenario bastantes veces durante la secundaria. Era miembro de una banda de Jazz y de la orquestra de la escuela, en la cual tocaba el saxofon y el clarinete

Cual fue la peor presentacion de tu carrera?
Durante mi tiempo en el ejercito finlandes, el cual es obligatorio, toque en la orquesta militar durante 9 meses. Muchas de nuestras presentaciones eran durante desfiles. Recuerdo un concierto en la mitad del invierno. Teniamos que estar parados durante una hora con 40 grados bajo cero. Fue horror total.

Cual fue el peor trabajo que has tenido?
En los primeros dias de Nightwish, trabaje medio tiempo como maestro sustituto. En realidad, era muy divertido, pero una vez tuve qu cubrir a un profesor que estaba enfermo y justamente enseñaba economia hogareña. El proposito de esta clase es enseñarle a los estudiantes como hacer cosas diarias como cocinar y limpiar. Encontre el plan de enseñanza el cual explicaba con detalle como debia conducir la clase. Entre otras cosas, mi tarea era enseñarle a niños de 15 años a preparar rollitos primavera. Fue terrible. No fue uno de mis logros mas brillantes.

Como describirias la peor cita que has tenido?
Durante mi tiempo como estudiante de intercambio en Kansas, el hijo de la familia me arreglo una cita con una de sus amigas. Yo tenia 15 años y aun era muy inmaduro e inocente. La chica, por otro lado, ya tenia bastante experiencia con los hombres. Cuando fuimos al autocine esa noche para ver una pelicula, ella de pronto comenzo a hacer cosas “peculiares”. Yo no tenia idea de lo que hacia y sali corriendo y gritando. No fue una gran y excepcional experiencia, pero aun asi, logre dar mi primer beso.

Cuando fue la ultima vez que te viste envuelto en una pelea?
Afortunadamente, jamas me he peleado en toda mi vida.

Hay algo que tu odies absolutamente?
Odio a las arañas; masas de gente sin caras; y despertarme temprano. Lo que en verdad me molesta son las quejas. Definitivamente no puedo soportar cuando la gente se complica tanto por cosas ridiculamente pequeñas.

Como te describirias para una cita a ciegas?
Busca a un hippy sureño de Kitee!

Cual es tu peor caracteristica?
Soy terriblemente impaciente y quiero que las cosas sean hechas inmediatamente porque no soporto esperar.

Cual es tu mejor caracteristica?
En muchos aspectos, soy una persona muy creativa. Tambien, puedo ponerme en el lugar de los demas y entender lo que piensas y lo que sienten. Puedo entender por que se comportan de tal manera en ciertas situaciones. Aun cuando se trata de palabras o acciones fuertes, entiendo la motivacion detras de ellos y lo que llevo a la persona a portarse asi.

Cuando fue la ultima vez que lloraste y por que razon?
Anoche vi “King Kong”. Tuve que llorar durante la ultima escena. Con esta no hay escepcion; cuando veo escenas emocionales en las peliculas, siempre lloro. En el momento en “Danza con Lobos” cuiando el lobo es asesinado es la escena mas triste en la historia del cine. Cuando la veo, puedo llorar por horas.

Has tenido que decidir alguna vez entre la musica y una mujer?
Si.

Cuales otros intereses tienes ademas de la musica?
Soy un fanatico de Disney. Esa es mi pasion. Colecciono todo lo que tenga que ver con Disney: Comics, peliculas, figuras. Mi cuarto esta lleno hasta el techo con esas cosas. La nueva casa que estoy ahora construyendo en Kitee tendra incluso una pieza especial para Disney. Aparte de eso, gasto mucho dinero en viajes y musica.

Cual es tu destino vacacional favorito?
No hay nada mas hermoso que pasear por Lapland. He recorrido el mundo varias veces y me encanta aprender sobre nuevas culturas, pero el mejor lugar en el planeta es Lapland. He estado alli incontables veces.

Que libro estas leyendo de momento?
El ultimo de Stephen King “Puls” (Titulo Original: “Cell. A Novel”

Confiesa. Cual es el disco mas vergonzoso que tienes en tu coleccion?
“Oops!… I did it again” de Britney Spears esta en mi coleccion. El single “Stronger” es verdaderamente genial. Tambien tengo un cd de los backstreet boys. Esos chicos han escrito unos cuantos buenos temas. A menudo, canciones individuales me interesan mas que las bandas o sus generos. No tengo nada en contra de las bandas de chicos, a pesar de lo estupidos y comerciales que puedan ser, mientras hagan buenas canciones. Por otra parte, puedes irte olvidando de Westlife. No tienen nada que ofrecer. Prefiero escuchar mi disco de madonna, el cual no considero vergonzoso en lo absoluto.

Cual seria la primera cosa que harias si fueras presidente de los estados unidos?
Cambiaria el slogan “God Bless Amercica” (Dios bendiga a America) por “God Bless The World” (Dios bendiga al Mundo)!

Posarias alguna vez para Playgirl?
Probablemente no. no tengo el cuerpo para eso.

Si pudieras tener una conversacion con alguien famoso, con quien seria?
Me gustaria conocer a mi idolo, Hans Zimmer, y hablar con el sobre musica. Tambien seria genial poder hablar con Johnny Depp y Christina Ricci. Los convenceria de que aparecieran en mi nuevo video.

Has tenido alguna vez una experiencia paranormal?
Cuando era un adolescente, unos cuantos amigos y yo jugamos a la ouija. Mientras le preguntabamos cosas al espiritu, el vaso en medio de la tabla comenzo a moverse muy rapido. Fue en verdad extraño. Puedo imaginarme claramente que hay mas que cielo y tierra de lo que conocemos.

Eres religioso?
Creo que todo es posible, trato en la medida de lo posible de vivir segun los mandamientos, y creo que la biblia contiene algunos principios bastante interesantes. Sin embargo, no me describiria como una persona religiosa o como cristiano. Soy mas del tipo espiritual, y mi interes en las diferentes creencias vienen mas de una perspectiva cultural. Envidio a aquellas personas que tienen una fuerte fe en algo, yo, personalmente, no la tengo en nada.

Cual es el rumor mas ridiculo que has escuchado sobre ti?

En el pasado siempre se especulaba que yo era gay. El rumor viene de que nunca he mostrado a mis novias en publico. Los grandes tabloides estaban naturalmente atraidos por una historia que vendiera y escribian sobre mis supuestos novios. Los editores incluso llamaron a mis padres y les ofrecieron dinero por una entrevista en la cual debian admitir que yo era gay.

Cual fue tu drogada mas loca?
No consumo drogas, pero hace algunos años, alguien debe haber puesto algo en mi bebida porque de pronto comence a tener alucinaciones increibles. Me sente en mi cuarto de hotel y vi millones de chinos que hacian un sonido completamente irritante, como un chillido. Era casi insoportable. Solo comence a sentirme mejor una vez que apague la luz y llame a mi madre.

Que cancion deberian tocar en tu funeral?
La version original de "Walking In The Air”.

Interview with Nightwish 35

Source:

Anette Habla sobre Nightwish, su hijo y sobre... barbie.


Esto lo he cogido de el foro de Katherine, gracias por traducirlo  

"Vamos, Anette!"

Crees que Nightwish tiene fans en Suecia?

Yo creo que hay algunos fans de Nightwish en Suecia porque por lo menos uno de sus albumes vendio disco de oro. Los adolescentes saben sobre la banda ahora, pero no es popular entre la gente mayor. Por supuesto espero poder ganar nuevos fans para la banda.

Entre otros projectos has cantado en una banda de cover de Abba. Esta tu hijo mas entusiasmado en tu carrera en el heavy metal?

Mi hijo de seis años, Seth is un fanatico de Nightwish. No podia decirle que fui elegida para ser la nueva cantante al principio, porque era un secreto. Y uno jamas sabe con los niños: O le dicen a todo el mundo o a nadie en lo absoluto. Hace unas semanas me dejaron decir la noticia, y cuando Seth escucho que iba a salir en television tambien, estaba asi como “Wow”. Mira mucho el MTV y escucha musica pop como Madonna.

A cual de estas bandas le aplicarias como vocalista? Ace of Base o Army of Lovers?

Oh, Army of Lovers. Alexander Bard es un gran personaje y la banda completa es asombrosa. Tambien tienen muchas buenas canciones.

Quien es mas sexy? Per Gessle de Roxette o “Diggi-loo diggy-ley” de la banda de chicos Herreys?

Me encanta Herreys! Incluso tenia un poster de ellos en mi pared – ya no, desde luego! Y esos encantadores zapatos dorados. Per Gessle no es mi favorito – aun cuando es mas sexy ahora con un par de arrugas.

Que has hecho en cuanto a tu apariencia desde que fuiste elegida para la banda?

El color de mi cabello ha cambiado, solia tener el pelo claro. Yo era Agnetha en la banda de covers de Abba despues de todo. Y cuando cambias el color de tu cabello, debes cambiar tu maquillaje tambien. La ropa sigue igual.

Tuomas Holopainen tiene una fantastica coleccion de Disney. La vas visto?

Si, la he visto completa. Si, si. He estado en la habitacion de Tuomas. Asi es, en Kitee. Es eso normal, preguntas? Que es lo normal? Yo tambien tengo cierta amiga conmigo, su nombre es Mumma. Ella es una barbababa roja, fue un regalo de mi hijo. Mumma puede venir al escenario conmigo tambien si asi lo quiere. Jamas he coleccionado nada, aunque era una fan de las barbie. Tenia muchisimas, pero las arruine todas. Les perfore las orejas y les corte el cabello, una de ellas perdio sus piernas. Mi madre les hacia ropas nuevas y se horrorizaba con sus nuevos cortes de cabello. Me hubiera encantado tener una hija para haber podido jugar juntas con ellas. Pero no, Seth solo tiene autos y Spider Mans.

Cuantos muñecos Ken tenias?

Ni uno solo! Ni siquiera sabia que existian los muñecos Ken. O quizas si lo sabia, pero en realidad no queria ninguno. Las chicas se divertian muchisimo entre ellas.

FINN DIN STIL - Mary Spillane

finn din Stil!
KOMPLETT GUIDE FÖR DIN PERSONLIGA IMAGE
från Colour Me Beautiful

Låt roliga och kunniga Mary Spillane från Colour Me Beautiful lära dig allt om personlig stil och färgval – och känn hur självförtroendet växer!

I FINN DIN STIL! hittar du senaste nytt om kläder och makeup. Du får goda råd om hur du ska locka fram och bygga upp din personliga image, så att du i alla lägen gör det bästa av dig själv och dina möjligheter – utan att ruinera dig. Du får hjälp med att:

  • planera din garderob utifrån de färger som passar just dig enligt det färgvalssystem Colour Me Beautiful har vidareutvecklat,
  • välja rätt kläder som avspeglar just din personlighetstyp och som hjälper dig att avancera i yrkeslivet,
  • utnyttja dina egna ”färgvitaminer” på bästa sätt.

Läs också om hur man klär sig i Europa och i USA, om vett och etikett i olika länder och om ditt kroppsspråk.

Alla som vill hitta fram till sitt vackraste jag kommer att upptäcka att FINN DIN STIL! är en personlig och inspirerande uppslagsbok, full med goda idéer och praktiska råd.

Mary Spillane från Colour Me Beautiful är just nu Europas främsta expert på image och utseende. I FINN DIN STIL!, som är hennes första bok, berättar hon om de senaste rönen när det gäller färg och stil, och om hur man planerar sin garderob. Hon har hjälpt tusentals kvinnor med olika bakgrund och olika behov, och det är utifrån dessa möten med kvinnors praktiska verklighet som hon skaffat sig sina erfarenheter och byggt upp sin kunskap.

Colour Me Beautiful delar in alla människor efter årstiderna med utgångspunkt från färgen på håret, huden och ögonen. Är du en Sommartyp, en Vintertyp, en Hösttyp eller en Vårtyp? Eller någonting mittemellan? I denna bok har Mary Spillane vidareutvecklat CMB:s system med de fyra årstiderna till att omfatta tolv årtidstyper. Det blir då ännu lättare att avgöra vilka färger som är de rätta för var och en. I varje årstidspalett finns ett underbart urval färger som både stämmer inbördes och med varje individs personliga färgsättning.

I FINN DIN STIL! får du också hjälp med att avgöra vilken sorts figur du har och hur du ska veta vilken klädstil och vilka accessoarer som passar dig bäst. Du upptäcker hur lätt det är att välja ut och kombinera modeller och hur du kan låta din personlighet komma till yttryck i klädseln. Du får också expertråd om hur man sätter ihop en årstidsgarderob. Och du får också läsa om vilken psykologisk effekt olika färger kan ha på omgivningen.

Mary Spillane grundade Europas första image-organisation Colour Me Beautiful (CMB) 1983, enligt samma principer som gällde för den framgångsrika amerikanska motsvarigheten. CMB ger råd till enskilda individer, företag och offentliga personer om hur man ska utveckla sin image och ta vara på sina möjligheter. Mary leder nu en organisation med mer än 700 konsulenter i Europa, Fjärran Östern och Australien, vilka alla utbildats av CMB. Hon har blivit välkänd i medierna tack vare sina informativa program och sitt goda rykte som Europas ledande imagekonsult. Innan Mary Spillane startade CMB i Storbritannien var hon politiker och även verksam inom PR-branschen. Hon bor med make och två barn i London.

Från Colour Me Beautiful har Wahlström & Widstrand/Bernces tidigare givit ut bestsellern Vacker med färg av Carole Jackson.

Wahlström & Widstrand

ISBN: 91-46-16292-5

The Complete Style Guide - From the Colour Me Beautiful Organisation

© Mary Spillane 1991
C O N T E N T S

CONTENTS - Din katts hemligheter

Inledning

  

Kapitel 1: EN NY KATTUNGE

Historien om Annie med fallbeskrivningar och råd om:

Hur man väljer rätt kattunge

Hur man får kattungen rumsren

Hur man introducerar den nya kattungeni familjen

Semestrar och kattpensionat

  

Kapitel 2: SKYGGA KATTER

Historien om Spooky med fallbeskrivningar och råd om:

Kattens personlighetsutveckling

Hur man umgås med ängsliga och skygga katter

Fysiska symptom på ängslan

Plötslig rädsla

  

Kapitel 3: AGGRESSIVA KATTER

Historien om Bln med fallbeskrivningar och råd om:

Aggressivitet vid lek

Revirbetingad aggressivitet

Aggressivitet som maktmedel

  

Kapitel 4: INNEKATTER

Historien om Bakewell med fallbeskrivningar och råd om:

Hur man sysselsätter en inomhuskatt

"fnatt"-fenomenet

Vådan av sysslolöshet

  

Kapitel 5: ATT HA FLERA KATTER

Historien om Lucy med fallbeskrivningar och råd om:

Flera katter - fallgroparna

Bristande rumsrenhet

Strilbeteende inomhus

För och emot kattluckor

Hur man tolkar kattens sociala signaler

  

Kapitel 6: KONSTIGA KATTER

Historien om Bink med fallbeskrivningar och råd om:

Bisarra och ovanliga beteenden

Pica: katten som åt upp en Doc Martens-känga och andra berättelser

Självdestruktivt beteende och överdrivet slickande

  

Kapitel 7: BANDET MELLAN MÄNNISKA OCH KATT

Historien om Zulu med fallbeskrivningar och råd om:

Alltför stark bindning mellan människa och katt

Osociala katter

"Prozac-kisse" - hur kattens tillstånd kan avspegla ägarens

Münchhausens syndrom by proxy - ett sorgligt fall

  

Kapitel 8: GAMLA OCH RÖRELSEHINDRADE KATTER

Historien om Hoppy med fallbeskrivningar och råd om:

Gamla katters särskilda behov

Störd nattsömn och senilitet

Rörelsehindrade katter - katten med två och ett halvt ben

  

Kapitel 9: ATT FÖRLORA EN KATT

Historien om Puddy med fallbeskrivningar och råd om:

Hur man känner igen smärta

Hur smärta påverkar kattens beteende

Rätt tid för avlivning

Hur man kommer över förlusten


Epilog

  

Tack


DIN KATTS HEMLIGHETER - Vicky Halls

Din katts hemligheter
Boken din katt skulle vilja att du läste


Hur mycket vet du om din katt? Förstår du vad katten vill ha och behöver? Eller säger katten en sak och du hör något annat? Helt plötsligt är katten inte rumsren längre eller blir aggressiv mot människor, börjar slåss med grannens katt eller blir onaturligt ängslig och börjar göra sig själv illa. Vad gör du då?

      Boken tar upp samspelet mellan katten och ägaren, kattens psyke och behov, olika beteendeproblem och hur man kan hantera dem. Författaren beskriver också kattens utveckling från kattunge till vuxen katt och olika sjukdomar som kan drabba katten. Hon ger praktiska råd och tips för livet tillsammans med en katt och läsaren får också ta del av många intressanta fall som hon har mött i sitt yrke som kattpsykolog.

FORUM
ISBN: 91-37-12678-4
Cat Confidential - The book your cat would want you to read

© Vicky Halls 2004
C O N T E N T S


Music

After Forever - Imperfect Tenses

After Forever - Cry With A Smile

CONTENTS - Personbedömning

Förord


Inledning


1  Perspektiv

Människan har alltid strävat efter att utvidga sin kontroll

Vi försöker skydda oss mot kaos

Vi är alla delar i och av det gigantiska experimentet

Gruppen är området för frustration och hopp


2  Ramen

Psykisk patologi är en ingång så god som någon

Människan även sin utbildnings- och yrkesinriktning av "tvång"

En tolkningsram strävar efter att ge meningsfullhet

Det mänskliga medvetandet utvecklas och utformas i samspel med omgivningen

Individen avspeglar alltid sina grupptillhörigheter

Vad är möjligt att förändra och utveckla?

Tillhörighet är således den psykologiska anatomins skelett

Delaktighet är det psykologiska anatomins nerver och motorik

Psykisk utveckling gives inte - den får man kämpa sig till

Mycket kan gå fel - men ibland märks inte felet förrän det är för sent

Gentemot våra konflikter - inre och yttre - bygger vi försvar

Att bygga och upprätthålla försvar är nödvändigt - och mycket energikrävande

Vi kan också återvinna energi

Det som ser ut som mognad är inte alltid

Den vältalige kanske främst intellektualiserar

Det finns nödvändiga och därmed "goda" försvar - och det finns mindre anpassade och "dåliga" försvar

Psykiska kriser hör livet till - och de uppenbarar sig som trösklar in mot alla nya livsrum

Krisen i öppningen in mot den genitala sexualitetens rum

Man kan alltid försöka ta ett steg tillbaka

Man kan försöka hitta bättre lösningar genom att göra om ... och om igen ... och om igen

Det finns flickor som vill vara som pojkar - och tvärtom

Steget tillbaka från sexualiteten leder till andra kroppsdelar

Känner du igen dig själv?

Vi tar aldrig några helt slumpartade steg - vare sig framåt eller bakåt

Drivkrafterna som samverkar till den rörelse och de effekter de får är många och oftast omedvetna


3  Strategin

Det är av värde att skilja på forskning och utredning

Strategin kan liknas vid det som används när man lägger pussel

Den humanvetenskapliga inriktningen

Personbedömningen är en process


4  Fokus

Arbetsanalys - analys av vad?

Vad krävs av en kommunchef?

Strukturera kravprofilen!

Precisera och definiera!

Lösa intryck är just lösa!

Ett testinstrument utgör inte i sig själv någon garanti för just någonting alls!

Är människan rentav en maskin?

En dynamisk bild bortom testdata

Frågetekniken i intervju är sekundär!

Intervjun är personbedömningens viktigaste insrument

Etik och integritet

Lathund för intervjuarbete avseende personbedömning


5  Värderingen

Vad är sant och vad är falskt?

Vi uppfattar, tänker och uttrycker oss genom ett prisma

En scen ur livet

Ett intryck är nästan alltid ett löst intryck

Strukturera med hjälp av bedömningsvariabler!

Är att variera med siffror lika med att mäta?

Över till definitionen av de uppställda variablerna


6  Rapporten

  

7  Etiken

  

Avslutning

  

Litteratur


PERSONBEDÖMNING - Hans Gordon

Personbedömning vid rekryterings- och urvalsarbete


Ett japanskt ordspråk lyder: "Tro inte på allt som är sant".

När det gäller konsten att bedöma människor, deras kapacitet och det vi kallar personlighet, kan vi ibland få för oss att det första intrycket är detsamma som en korrekt och sann bild. Det finns också de som tror det motsatta, att människans natur enbart kan upptäckas med hjälp av sofistikerade testmetoder som tränger bakom och bortom alla vanliga mönster. I denna bok hävdar författaren att all bedömning av god klass måste bygga på ett utredningsförfarande, där tolkningen av den information man samlar in är nyckeln till framgång.


Boken vänder sig till studerande inom beteendevetenskapliga ämnen och på personaladministrativa utbildningar. Den riktar sig även till yrkesverksamma personalchefer, personalkonsulenter, psykologer och liknande.


Hans Gordon är fil. dr i pedagogik, leg. psykolog och leg. psykoterapeut. Han har i sin yrkesutövning medverkat vid mängder av bedömningsärenden, särskilt vid rekrytering av människor som skall anförtros säkerhetskrävande uppgifter.

Studentlitteratur
ISBN: 91-44-00259-9
© 1997
C O N T E N T S


INFP

Source:

 

An INFP profile



INFPs are amongst the least commonly found of the '16 different ways of being normal'. In the UK they represent about 3 percent of the population. This type is often styled 'the Questor', 'Idealist' or 'Romantic', characterised by being value-driven, calm, shy, caring, honourable, loyal and adaptable. They may also espouse special causes and often prize process over logic.

Introvert, Intuitive, Feeling and Perceiving by preference, they are likely to be enthusiastic but this may take time to reveal. They often care about learning, ideas, languages and pet projects and they may take on too much, while still getting things done. Many ISFPs appear to have little concern for possessions or surroundings. Yet they never seem to lose their sense of wonder, especially of the natural living world. They often see good in all around them.

INFPs may well feel things deeply, although most often this will be hidden. They may well be driven by ideals of a 'greater good' and may well personalise the inanimate. Despite a tendency to make empty promises and a claim for a lack of practical skills, they may be highly skilled in choosing able deputies and they may be highly flexible in business matters, to their advantage.

Their motto may well be 'noble service to mankind'. They often prize flexibility and unconventional thinking and value information that reflects the positive qualities of others. Any questioning of their motives or lack of trust is likely to be felt as deeply wounding. INFPs are likely to trust their personal intuition about people and situations and to be firmly driven by their own values. They can be quite frivolous and playful and very supportive of others but they may also create dramatic scenes themselves. While these are likely to be short-lived, those who show understanding and sympathy are likely to be particularly appreciated.

Their 'dominant function' is introverted Feeling, which can produce a rich inner world of peace, harmony, values and ideals, often based on respecting others. Under stress however, exaggeration of this function can produce a sense that only their values are valid.

Their 'auxiliary function' is extroverted Intuition, which might be experienced by others as benign creativity and a preference for philosophical - even theosophical - matters.

Their 'tertiary function' is Sensing which can become categorical in its 'all or nothing' tertiary state. This may produce a sense of 'other-worldliness' in others' eyes, as the Sensing function may well be hidden deep, although their dominant Feeling function may well mitigate this.

Their 'inferior function' is extroverted Thinking. When functioning well, this may lend an aura of 'business-savvy' but as the 'inferior function' it is unlikely to be sustainable. Thereafter, single impersonal facts may take on a disproportionate significance, especially in highly stressful times, at the expense of more serviceable principles. They may then also become hyper-critical.

INFPs are often found in missionary work, medicine, teaching, writing, music, architecture, counselling and psychology or psychotherapy.

To be persuaded, they are likely to respond best to their inner sense of values and vision, rather than logic (whose logic?) or the facts (irrelevant?).


CONTENTS - Familjens projektledare säger upp sig

 1 Vad var det som hände?

 2 Blek och slapp hjärna

 3 Tidsplanens hemlighet

 4 Hur många aktiviteter är lämpliga för en småbarnsmamma?

 5 Otrogen

 6 En avundsvärd egenskap

 7 Geni på hal is

 8 Är barnen roten till det onda?

 9 Stenhård cement

10 Listan II

11 Jag säger nej till en lösning

12 När hamstern strejkar kopplas turbon ur

13 Presenter. Behöver jag säga mer?

14 Presenter II

15 Presenter III

16 Fel på hjärnan

17 En helt vanlig dag

18 Saker på drift

19 Hemligheten med Ullared

20 En gigantisk komplott

21 Tjat är bra

22 Trosor till en stor rumpa

23 Humor mot humör

24 Låtsasjämställd

25 Livets agenda

26 Veckomöten

27 Bilen är tankad

28 Presenter. The sequel

29 Sex. Ännu mer sex

30 Badkaret också

31 Hjälp inte till, tack!

32 Mansgrisen - en drömman?

33 Vi är väääldigt jämställda

34 Presenter. Vikten av ett inbjudningskort

35 Resfeber

36 Leka 20 frågor varje dag

37 Porr

38 Två veckor i trappan

39 Han säger älskling

40 Utmaningen

41 Fortsättning följer

42 Män byter inte lakan

43 Ett intressant litet experiment

44 Sanningen om fläktfiltret

45 Män är som femåringar

46 Fyra veckors semester, tio veckors sommarlov

47 Världens bästa pappa får kritik

48 Åtta olika undanflykter och en undanmanöver

49 En djurisk upplevelse. Kolmården

50 En man köper barnkläder!

51 Äktenskapets mönsterstickning

52 Tändstiftet

53 Ny kurs på medborgarskolan

54 Barnkläder II

55 En ny fru på minuten

56 Vi är inte fler än jag

57 Könet i hjärnan

58 Jag har SMIK

59 Bensin i tanken. En gång till

60 Inlärd hjälplöshet

61 En förlorad generation ser framåt


FAMILJENS PROJEKTLEDARE SÄGER UPP SIG - Gunilla Bergensten

Härmed säger jag upp mig från jobbet som familjens projektledare. Ett jobb jag aldrig, har någon naturlig fallenhet för eller ens tycker är roligt. Jag har insett att detta bland annat kommer att påverka familjen på följande sätt:

  1. Barnen kommer att bära udda kläder, inte ha någon mössa när frosten kommer eller skridskor nästa friluftsdag.
  2. Inte heller kommer barnen att ha gympapåse med sig eller picknick när så förväntas.
  3. Den sociala agendan kommer att haverera totalt.
  4. Det kommer att bli rörigt och lukta illa hemma. Och ingen kommer någonsin att hitta något (för det finns fortsättningsvis ingen att fråga).

Trots detta väljer jag att säga upp mig. Från och med dagens datum har vår familj ingen projektledare. Jag vill gärna passa på att önska dig, min älskade man, lycka till!




Jag heter Gunilla Bergensten, när du läser det här har jag fyllt 41 år. Jag är mamma till två barn och hustru till Magnus sedan 10 år tillbaka. Vi bor strax intill Göteborg, i vad jag brukar kalla "the Truman show". (Jag önskade mig ett penthouse i New York, jag fick ett radhus i förorten... Sånt är livet - lite överraskande sådär!)

      Det här är min andra bok, den första heter Pappor föder barn.

      Till vardags arbetar jag som skribent på en reklambyrå. Just nu har jag tjänstledigt för att prova på San Francisco. (Fortfarande inget penthouse, men åtminstone andra våningen.)



Det talas mycket om att vi curlar för våra barn. Men det är väl inget emot det sopande som vi kvinnor dagligen utför framför barnens pappor. Jag håller banan så blank åt min man att han formligen glider genom vardagen.

      Är det rimligt? Varför håller jag på så här? Men mest av allt undrar jag: Varför kan inte min man hantera familjelogistiken? Är det som han påstår, att min funkar bättre när det gäller inköp av regnställ och planering inför studiedagar. Eller är det som jag ibland misstänker, att han kan men inte vill?

      Läs om min kaotiska vardag och hur jag sa upp mig från det jobb jag aldrig sökt och inte ens är lämpad för. Säkert kommer du att känna igen dig!

      Det här är en bok för alla kvinnor som älskar sina män - men som är trötta på att vara familjens projektledare. Riktigt trötta. Min ackumulerade frustration har sprejmålat sidorna med ilska, på min jakt efter en förklaring och en lösning.

      Nu har jag en. Här.



FORUM
ISBN: 978-91-37-13217-4
(c) Gunilla Bergensten 2008
C O N T E N T S

Interview with Paradise Lost 1

Source: Lords of Metal
Issue 21 - December 2002

Dutch:

Vorige maand publiceerden wij het eerste deel van het interview met Paradise Lost, waarin Aaron aan het woord kwam over de nieuwe cd Symbol Of Life. Die cd ligt inmiddels in de winkel, dus daar mag iedereen nu voor zichzelf een mening over ontwikkelen. In deel twee van dit interview praat Aaron over de opmerkelijke evolutie die de band door de jaren heeft doorgemaakt.


English:

Last month Lords Of Metal published the first part of our interview with Paradise Lost, in which guitarist Aaron spoke about the latest CD Symbol Of Life. That CD was recently released, so it’s now up to you –the fans- to judge it’s quality. In this second part of the interview, Aaron and me talk about the interesting progression that the band has made throughout the years.



Text: Ferdi



You guys have been going on for so long now. Do other bands still influence you?

No, not so much. We’ve now found our own way in doing music. We’ve got a style of our own, and it’s not altered by outside anymore. Of course we do have influences that we’ve had from the beginning. I started out as a heavy metal kid, buying Number Of The Beast in ’82 on the day it came out. Nick was a big fan of Venom and other obscure music, and Greg started out as a punkrocker, as a fan of Discharge. And those influences stick with you, even if you mature musically like we did. But the new stuff doesn’t affect our music anymore. Of course we listen to music, but it doesn’t consciously alter our way of making music.

When people talk about PL, Nick’s progression is one of the most touched subjects.

Yeah, Nick sings a lot different these days than he did in the beginning. That’s because over the years Nick has become more comfortable in his singing. He’s able to do more with his voice nowadays. That’s also one of the reasons why our music isn’t that aggressive anymore, because you can’t really put extreme aggression into the music without growling. You have to be more gently and put more balance in the music. That’s something that we had to work on to find a proper balance.

Your has some aggressive vocals, but none of them are the deathgrunts that Nick was famous for. Do you think that he’ll ever do them again?

Well, while we were recording this album, Cathedral was recording their album in the studio next to ours. Nick did some grunts on their CD and in exchange Lee Dorrian did some backgroundvocals on our cd. But that was a one-off thing. Nick doesn’t grunt anymore, because it’s getting harder and harder for him to use his raw voice. I don’t even think that he could do them live anymore. It really hurts his throat if he tries, and the last thing he wants is to is to permanently damage his voice. It’s quite hard for him, really. Because a lot of people want to hear him do the low vocals again.



Doesn’t that give you a problem if you want to play the old songs live?

Well, we don’t really play a lot of old songs anymore, especially not from the first two albums. Sometimes we play As I Die, True Believe and Eternal, but that’s about it. We play them a little bit slower and less heavy, and Nick sings them less rough to fit them in.

Don’t you think that the older fans will hold the lack of old songs against you?

Well, you can’t please everyone. We’ve got about a hundred songs, and with each new album it becomes harder to choose a setlist. So we have to make a mix, and usually the more recent songs are greater in number. We once tried to do a setlist with old material, but that didn’t work out at all. Two people in the front were going completely nuts, and the rest of the crowd were bored to death because they didn’t know any of the material. And when you play live you shouldn’t only take into account what you want to play, but also what the audience wants to hear.

And do you think that Paradise Lost has a different audience now than five years ago?

Well, certainly a different audience than ten years ago. The people that come to see us now are mainly the ones who’re really into the stuff on Icon, Draconian Times and One Second. Whereas five years ago people were more into the stuff from Gothic, the death doom stuff. So it’s definitely a different audience. Some fans from ten years ago got a job, got kids and grew out of music. And other new fans learned about our music and seemingly appreciated it, and that’s the group of people that now go out and see us at our concerts. But we’ve also have a group of fans who have been with us from the beginning. Who, like us, started out listening to extreme metal, but when they grew up started to appreciate other music too. Because people change over time.

With all the changes made to the band, do you still consider Paradise Lost metal?

Well, yeah. I still consider us a metalband. It’s true that we did so many different things, in fact we did a bit of everything. But it has always in a metal framework, with the right mentality. That’s where we all come from: a metal background. I’m the oldest bandmember, I’m 32 right now, and like the rest of the guys I’ve always listened to metal. Metal will always be a part of Paradise Lost, even though it’s not always that obvious..

Has there ever been a moment when you didn’t consider yourself a metalband anymore?

Ehr….. no, not really. It is true that Host wasn’t a metal-CD at all. There wasn’t a single bit of metal on it, even though it was probably the most depressing record that we’ve ever done. But Host was definitely done with a heavy metal mentality. It had the power and the passion that I normally associate with metal, just not done in the heavy metal way if heavy metal means fast drums and fast solo’s. So I do think that we were still a metalband at the time, it just wasn’t expressed in raging guitars.



No matter how much you guys altered your music throughout the years, one element has always drawn a red line through it: it has always been depressing. Could you guys even be capable of writing a happy CD?

Capable: yes. Willing: no.

Really?

Well… actually, now that I think about it, I don’t even think that we’re capable of doing a happy record, because that’s not the kind of musicians that we are. In this band we channel this darker side of life into our music. Dark emotions, like anger, misery, despair. Of course there’s more to us than those emotions. If you’d get to know us personally you’d discover that we have our happy moments too, moments when we laugh and smile like every other person. But when we come together we use our darkest moods to come up with music. That’s who we are, we just love dark music.

Where does this love for dark music come from? Is it because of the miserable British weather?

Well, other people in Britain tend to say that it’s because we’re from Yorkshire. Yorkshire is a sad place, where many bands like us come from. Cathedral is from Yorkshire, as well as the Sisters Of Mercy (and the Toy Dolls). Hahaa, perhaps there’s something in the water, I don’t know.

You’ve got nine of those depressive albums out. I’m wondering, which one sold the most? What was your most successful album to date?

Probably One Second, followed by Icon. I don’t know for sure, because by now we’ve heard so many sales-figures. You know how it goes, one person tells you this, the other person tells you something else. You don’t really know who to believe in this business. But I’m pretty sure that One Second sold the most.

And how did your last two albums sell?

They sold okay, but not as much as One Second. But they weren’t the worst selling albums either. The one that sold the least was our debut LP, Lost Paradise.

Really?

Yeah, really. That LP may have a cult-status, but it never really sold very well.

Will you be visiting the Netherlands on your next tour?

Yeah, I hope so. We all have a special bond with your country, because it was one of the first that accepted us. In fact, the first time that I left England was for a gig on Dutch grounds. One of the best moments in my life was when we played at Dynamo ’95. At first I didn’t have a clue how many people were out there, because I hadn’t been on the field all day. We walked on the stag, and to our staggering surprise there were more than 150.000 people there! That was amazing, I was smiling all along.

Despite your warm feelings for our country, your last gig here wasn’t such a success.

Yes, I remember that gig. Every time we have some big gigs planned we like to do a couple of warming up gigs in your region. The last time we played there was in Helmond, and we played for a crowd of eighty people. That was a bit of a let down. I spoke to a guy in the audience afterwards, he told me that the venue was in the middle of nowhere, and that there wasn’t any promotion done. The only way you could find out about it was through the internet. So that secret gig was a bit TOO secret, hehehe. But fortunately these gigs are an exception rather than a rule.

When you play a gig to such a small crowd, doesn’t it ever make you wonder if you’ve perhaps lost touch with your audience?

No, not really. We’ve always had a large fan-base. Thing is, you just can’t prevent things like this from happening. We have managers who book our gigs, so we have no control over it. Most of the time it works out right, just every now and then there’s an incident like this. But usually we play for big crowds.



And what do you prefer, playing to a huge crowd, or to a middle-size one?

That doesn’t really matter to me, really. Even if we play for five people, as long as those five people have a good time it’s alright. At Dynamo we’ve played for more than hundred-thousand fans and that was one of the best shows we’ve ever played. But we’ve also done a gig in Sweden once where we had a turnout of 150 people, and that was one of our best shows. So you can’t put a number on the fun factor. The most important thing is that everybody who paid for a ticket gets his money’s worth and enjoys himself.

You guys are veterans of metal. Do you get to hear any of the newer bands yourself?

Well, yes. Mostly on festivals, where they share a stage with us. And every now and then we get to hear some new stuff on CD’s that people give to us. I don’t really follow what’s going on otherwise anymore, because I rarely have the time for it. I’m away from home most of the time, so I don’t have a lot of opportunity to hunt after new groups.

And what kind of music do you listen to yourself?

That depends on the mood that I’m in. To me, music is about atmosphere, so my choice for music depends on how I feel. Sometimes I listen to classical music, sometimes to the new Slayer, sometimes to the new Queens Of The Stoneage.

A lot of newer bands have felt influenced by Paradise Lost. What do you think of this?

That’s the biggest compliment that anyone could ever give me. It’s really cool that people are so touched by what we’ve done that they pull out their instruments and try to do something like it. I know that there are a lot of very good young bands around that are influenced by us. I won’t mention any names, but some of them are really good. Again, some of those bands I get to see on festivals, and from some we’re handed a CD. And a very, very small number of them may one day end up opening for us on one of our tours.

http://www.paradiselost.co.uk/

Interview with Nightwish 36

Source:   Nightwish Italy

Tuomas e Tarja commentano le canzoni di Century Child

(traduzione by Valentina)


Bless the child


Tuomas: è una delle migliori canzoni che io abbia mai scritto per i Nightwish, orecchiabile e molto dinamica.

Tarja: Secondo me è la migliore canzone di Century Child. E' carica di emozioni. Mi sentivo davvero triste e malinconica quando ho registrato le parti canore in studio. La band ha reso così bene questa canzone che l'ascoltatore può capire i sentimenti che ne stanno alla base. Se sei solo e disperato non dovresti mai perdere le speranze. Se lo fai sei perduto e non ti rimane nemmeno più l'anima.


End of all hope


Tuomas: Questa canzone si riferisce alla title track di Wishmaster. Non c'è un attimo di riposo, potenza dall'inizio alla fine

Tarja: End of all hope è una canzone come Wishmaster. Il testo è molto triste e pieno di rabbia. D'altra parte la melodia e la mia voce danno un sentimento di speranza alla canzone. Nel modo in cui canto non si capisce bene quale sia il senso della canzone. Credo che sia misteriosa anche se molto heavy.


Dead to the world


Tuomas: E' un duetto, meglio dire un duello, tra Tarja e Marco. Il ritornello ti entra nel cervello: puoi solo odiarlo o amarlo

Tarja: Con questa canzone ho raggiunto qualcosa che non mi sarei mai aspettata. Duetto con Marco. E' stato interessante vedere come questo pezzo è cambiato durante le registrazioni, gli arrangiamenti erano molto difficili.. Due cantanti, se fanno entrambi un bel lavoro, possono trasformare di molto una canzone rispetto a come potrebbe cantarla una persona sola!


Ever dream


Tuomas: E' canzone più in "stile Nightwish" di Century Child. E' stata anche il nostro singolo in Finlandia. Quando ascolto la parte orchestrale mi vengono i brividi.

Tarja: il nostro singolo per la Finlandia. Una canzone abbastanza semplice, con una linea melodica orecchiabile. Esprime la speranza verso un miglioramento


Slaying the dreamer


Tuomas: Ho scritto questa canzone invece di demolire qualcosa con la mazza da baseball! La musica è la migliore cura contro l'aggressività, questo è sicuro! Quando siamo sul palco è la canzone che mi diverte di più.

Tarja: Questa canzone mi ha molto ispirata. Siccome la canto spesso in tour, ho notato che avrei potuto cantarla con più grinta rispetto a come l'ho registrata. Perkele!!! Credo che Tuomas fosse davvero arrabbiato quando ha scritto questa canzone e credo che tutti possano notare la differenza tra questa canzone e le altre di Century Child. E direi che questo sound un po' più heavy mi piace!


Forever yours


Tuomas: Ok, posso capire che venga accostata a canzoni tipo quelle della colonna Sonora di Titanic. ma è una onesta e innocente ballata .

Tarja: Credo che sia difficile scrivere una ballata sulla cosa più bella che esista al mondo. Per me è più facile cantare canzoni più tristi. Sfortunatamente non è una delle nostre migliori ballate, ma sul disco sta abbastanza bene. Non mi piace ascoltarla perché non sono assolutamente soddisfatta di come l'ho cantata!


Ocean soul


Tuomas: Adoro il modo in cui Tarja canta questa canzone. Ocean Soul è molto personale, semplice e toccante. E' la mia canzone preferità in Century Child.

Tarja: Tuomas una volta mi ha ditto che questa era una delle più importanti canzoni dell'album. Purtroppo ero malata e in studio non avevo voce! Ho cercato di dare il massimo, anche se è stato difficile per me, perché canto in un altro modo rispetto ai vecchi dischi. Credo che Tuomas abbia scritto il miglior ritornello della sua vita. Non suoneremo mai questa canzone dal vivo.


Feel for you


Tuomas: La struttura di Feel for you è cambiata durante le registrazioni più di 70 volte. Cosa posso aggiungere?

Tarja: Mi sono divertita a cantarla perché ha continuato a cambiare durante le registrazione. Alla fine il risultato è quello che mi ero immaginata. E' un peccato che la canzone sia un po' corta. ma contiene un importante messaggio.


Phantom of the opera


Tuomas: Mi piace tutto il musical di Andrew Lloyd Webber. Quando l'ho finalmente visto a londra mi ha davvero entusiasmato. Così ho deciso che la canzone sarebbe stata la prossima cover dei nightwish. E sono molto soddisfatto del risultato.

Tarja: Ho preso le mie prime lezioni di canto proprio per via di questo pezzo quando avevo 15 anni e volevo cantare proprio come Sara Brightman. L'ho interpretata in un altro modo perché Tuomas mi ha spiegato che odia quel genere di acuti..


Beauty of the beast


Tuomas: Quando abbiamo registrato e mixato questa canzone avevo quasi perso la speranza di completarla come volevo. Beauty of the beast rappresenta tutta la musica dei Nigjhtwish. Spero che saremo abbastanza ambiziosi da volerla suonare dal vivo. Non vedo l'ora!

Tarja: Mi piacciono davvero i feelings di questa composizione. E' una delle mie canzoni preferite, mi soddisfa avvero molto. Sono davvero felice di poter usare la mia vera voce. Durante le registrazioni ho usato una voce un po' più "soft" perché era quello che la canzone richiedeva.
Probabilmente nel prossimo album potrò mostrare altre sfaccettature della mia voce. Beauty of the beast è probabilmente una delle canzoni più oneste che abbiamo mai fatto. Il testo dice tutto.


Interview with Sirenia 1

Source:  Lords Of Metal
Issue 88 - January 2009

Dutch:

De afgelopen twee jaar zijn erg druk geweest voor Sirenia oprichter Morten Veland; hij moest zich niet alleen richten op het schrijven van een nieuw Sirenia album, maar ook intensief op zoek gaan naar een nieuwe zangeres. Dat laatste was een moeilijke klus; uit meer dan 500 reacties moest een keuze gemaakt worden voor de, in zijn ogen, perfecte zangeres. Na verschillende intensieve audities werd de Spaanse Ailyn naar voren geschoven als de nieuwe zangeres van Sirenia. Het harde werken werd beloond en daardoor staat het vierde full-length album van Sirenia ‘The 13th Floor op punt van uitkomen. Tussen alle hectiek door was het tijd voor Morten Veland om eens goed op adem te komen en vond hij tijd voor een telefonisch interview met Lords Of Metal.


English:

The last two years has been very busy for Sirenia ringleader Morten Veland; besides writing new material for the upcoming Sirenia album, he also forced to search for a new female singer. Finding the perfect female singer was tough, because they had to select one girl out of 500 reactions. After some intensive auditions Sirenia came up with singer Ailyn from Spain. All the hard work was rewarded; it's time to release the fourth full-length album of Sirenia, which is called ‘The 13th Floor'. During this hard and busy period it was time for Morten Veland to recover his breath and that's why he could find some time for an interview with Lords Of Metal.


Text: Kim



First of all congratulations with your fourth full-length album! I think you delivered again some very nice work and that Sirenia belongs to the top of the current true Norwegian gothic metal bands!
Thank you very much!

How are you feeling right now at the start of the release of your new album ‘The 13th Floor'?
I'm feeling very well right now. We worked for two years on the album and it's always good when the end comes near. The last couple of weeks we could relax and do something else than recording the album and that was really nice. The next thing we will do is promoting the new album and we definitely will go on tour; we're really looking forward to share our music with the Sirenia fans.

You describe the new album as a release that takes the listeners back in time but also as the beginning of a new time for Sirenia. Can you explain this?
What I tried to explain is that the new album is really diverse and reflecting the things from what we did on former albums. Some parts of ‘The 13th Floor' style can be related to our debut ‘At Sixes and Sevens' and some to the ‘Nine Destinies and a Downfall' album.

I think the first two albums are the more aggressive ones and the last two albums are more into a dreaming and lovely way; more and more classical influences, less screams and a more endearing voice of the new singer Ailyn. I'm I right?
Absolutely, but I think the new album is more aggressive than ‘Nine Destinies and a Downfall'. ‘The 13th Floor' has more in common with the first two albums, but you can also hear some new stuff. We are more and more focussing on the melodic aspects these days; we write shorter songs and we try to say something in three or five minutes and makes it all more intensive.

Did you already play some new songs live? Which ones did you play? Will you play the last song ‘Sirens Of The Seven Seas' of ‘The 13th Floor' live, because it contains a lot of choirs and less singing of you and Ailyn?
For now, we didn't play anything from the new album live, so we're really looking forward to it. Yes, we are using a lot of choirs in that song. So if we will play that song live there will be a tape playing with us for the choirs, along with other samples and the keyboard parts. For now we have a session bass player and we never worked on stage with a bass player, so that's a new addition.

On ‘Nine Destinies And A Downfall you've added a radio-edit version of My Mind's Eye; will there also be a radio-edit song on ‘The 13th Floor'?
Yeah, we will release our first single at the end of December; ‘The Path to Decay' and there also will be a video clip of that song. This song will also be put on the limited edition of ‘The 13th Floor'. We choose this song because it's very melodic, short and let everyone hear our typical nowadays Sirenia style.

Let's talk about the new singer Ailyn; her voice is a little bit more in the direction of Henriette Bordvik than Monika Pedersen. Was it difficult to find a singer that's approaching the former ones or is that not important in finding a new singer for Sirenia? Why or why not?
We always try to improve ourselves; we were looking for a singer that was better than the previous ones. When we started to advertise we received a lot of applications. We listened to all the applications and demos; we really wanted to make sure that we took our time in finding a new singer and made the right choice. Finally we choose five top candidates and we organised two auditions; one weekend in the studio for recording some old and new songs for finding out how it was to work with the singer in a studio. For the second audition we went to the rehearsing room and after that we rented a venue for pretending a real concert. So we could get an impression how the singer reacts on stage. We took some time to get to know each singer, because we really wanted to make the right choice. It was really important for us that she can show her passion for music and that she really want to spent a lot of time with the band.

I've read that there were 500 registrations for the new female singer of your band, is that correct? How many percent of these reactions came from singers in Norway?
Not so much actually; a very few. I can't remember exactly, but let's say around ten. It's very hard to find a good female singer in Norway who wants to sing in a rock or metal band. So we had to look outside the country. We received reactions from all over the world; America, Indonesia, Russia and even Australia. At some point we decided to focus only on the European countries; it's easier for us and easier for her if she wanted to move to Norway.


After so many member changes your band is on the right way of getting a steady line-up. Ailyn comes from Spain; is it not difficult to deal with this fact, because of the distance and getting to know each other very well to become a band is well attuned to each other?
It was difficult for us to find the right singer, but on the other hand we wanted a good singer so we didn't want to compromise in quality. All Sirenia members always lived spread; our previous singer was Danish. I live in Stavanger, Micheal & Jonathan living in Kristiansand and our new bass player lives in Oslo; so that is a lot of hours driving. Everyone practise alone and we often get together for a weekend or so. We got a lot of stuff done in a weekend and it still works after all those years.

Ailyn joined the Spanish x-factor and became famous in Spain. She is listening to a lot of different kind of styles in music, like R&B and Dance. Do you think it's an advantage to have a lot of different views and imaginations on various music styles so you can even sing better in a metal band?
Absolutely, it's important to be open-minded to discover your qualities. Abroad experience is good and it can help you to sing even better. She found out that she really likes to sing in a metal way, so that really helped her out with what she wanted to do.

You've worked with a lot of people; session members, guest members, the ones who helped you out with the recordings.....Is it not hard for you working over and over again with different people and how does this influence you're writing process? Did it change a lot the last few years?
From the beginning I always wrote Sirenia songs alone (and still do); it worked out very well for me and for the band-members. I write a lot of personal songs so it's really important for me being alone at that time. I've met a lot of people during the recording process, but it's no problem at all for me. I like to work with some great persons who can help me out with the recordings and the right balance.

You still have one session member; Kristian Olav Torp as a session bass-player. Why does he not totally join the band?
We don't see the need for it; we both like it this way. At the beginning of Sirenia we didn't use a bass-player live at all, because of the fact that there wasn't enough money for touring with an extra member. Some while ago we decided it was time for having a bass-player live, so that's why Kristian will join us on tour.

Can you imagine that there will be some more musicians who will join the band in the near future (like a keyboard player, a little choir or a violin player), so you can match more and more with all the things that can be heard on the CD?
No, we like it the way we are doing it right now. Maybe in the future, but I don't know.....

Talking about your writing process; did you finally reach the way you should have followed with Tristania?
It's a long time ago that I parted ways with Tristinia. At that point it was time for me to move on further and it was a process that took some time, but it really helped me when I started Sirenia. I didn't want to make a sound just like Tristania; it changed over the years, but of course I was the main writer of Tristania. It was a natural process for me that worked out very well.

Everyone is always asking you about your past with Tristania and how you've dealt with this; are you tired about all these questions or is it something that you have to deal with and cannot leave behind?
When I started doing interviews for Sirenia everyone wanted to hear both side of the stories about the situation of Tristania and sometimes I was really tired about it, definitely when I started to promote ‘At Sixes and Sevens'. Nowadays there aren't that many questions about it, so it's okay for me.

I think the typical sound of the Norwegian gothic metal bands is more darker and less symphonic The differences, comparing to The Netherlands, can also be found in the female way of singing; the Norwegian female singers are most of the time no soprano voices at all, but more sweet and mysterious. What's your opinion on that one?
I think can agree on you with this; a lot of gothic metal bands from The Netherlands are mixed with some power metal influences. These days I'm not following the Norwegian bands that much, but indeed we have no soprano voices at all. So, yes I think you're right about this.

We already know bands like Sirenia, Tristania, Trail of Tears, Theatre of Tragedy, The Crest, Octavia Sperati and so on. Can you tell me which unknown gothic metal band of Norway we should check out and why?
Haha, the funny thing is that I have no idea. The last few years I only focussed on my own band and when I sit down and listen to some music I listen to music from the 70's, 80's and 90's. So I'm not that updated on what's going on these days. I tried, but it's hard to follow everything.

As a nick of time of 2008; how are you looking back on 2008 and why will 2009 be, besides the release of ‘The 13th Floor', the year of Sirenia?
2008 was very chaotic in the beginning, because we had to find a new singer for the band. The rest of the year was very good; we were working on our album, now all is done and it's time to release ‘The 13th Floor'. We hope that 2009 will bring some enthusiastic reactions on our new album and we'll definitely go on tour! So hope to see you all very soon!

 
http://www.sirenia.no/

Lords of Metal review » Dream Theater - Train Of Thought

Source:  Lords Of Metal

Dream Theater - Train Of Thought
Elektra/Warner


file under Prog / Sympho metal


Dream Theater - Train Of ThoughtSander: It is nice to know the are still some certainties in these lively times. In an age of economic decline and a constant terrorist threat, there is one thing you can be certain of: a new Dream Theater record is always a masterpiece. But this certainty always brings along one uncertainty. Although the musical frame is known, it is always a surprise which colleague bands influence them.

The gentlemen seem to have used their entire psychedelic inspiration on their previous records, because ‘Train Of Thought' has become quite a heavy record. The band mainly found their inspiration this time in old Metallica, Tool and experiments with some nu-metal things. With songs with an average duration of ten minutes, it is a hard one to tackle. I really liked the record the first time I heard it, but I only penetrated the structure of the songs after the fourth time.

Opener of the album ‘As I Am' starts off with the rising of a chord, the exact same chord the previous record ended with. It is a song with a dark atmosphere, in the vein of ‘The Mirror'

‘This Dying Soul' is a continuation of ‘The Glass Prison', the opener of the previous album. Not a repetition, but a new song with some musical and lyrical references. In the intro we hear a furious eastern guitar riff, which brings Vai/Satriani in mind. The first verse sounds like Tool and proves once more that James LaBrie can do more and more with his voice. The second part of the song knows a lot evident references to ‘The Glass Prison' and ends with a harmonic solo by Rudess and Petrucci, which is as always completely over the top.

After all this aggression there is the chance to catch a breath during the opening of ‘Endless Sacrifice'. But the chorus is once more aggressive. After the chorus the tension seems to build to a climax, but the songs returns to another quiet verse. After the second chorus all breaks go loose and the weird time signatures are countless. The instrumental section again, is too much, but such a treat.

The opening of ‘Honor Thy Father' could be off the latest Metallica record, but where they failed Dream Theater succeeds to continue the song credible. After two verses James starts to rap. Certainly not bad, certainly surprising and fitting to the song. The band shows again that they have the gift to fit almost every genre within their songs.

‘Vacant' is with a duration of three minutes the shortest song of the album. The song is in the vein of ‘Disappear' of the previous album and is in my opinion way too short. But it ‘only' an intro into...

‘Stream Of Consciousness' the instrumental of the album and the least of the record. It is stretched out a bit too long and really cannot compete with songs like ‘Erotomania' or ‘When The Water Breaks'. Still there are some cool themes and it is another example of the virtuosity of the band.

The final song is ‘In The Name Of God' clocks fourteen minutes and is another pearl. The use of a sitar sample makes the first part sound somewhat like ‘Home'. There is once more a great balance between the aggressive and the modest parts. The instrumental part has a certain Latin vibe, but remains very metal by the solo of Petrucci. The song ends majestic with vocal choirs and bells, a worthy ending for this piece of art

This record is another masterpiece, which will especially appeal to the metal orientated fans. It is not their best record, therefor ‘Train Of Thought' lacks that bit extra in the melodic perspective. A lot of the solos from Petrucci are just too much shred and too little emotion. Still I am looking forward to their tour in January 2004.


Score 90/100
(details)


http://www.dreamtheater.net/


Interview with My Dying Bride 1

Source:  Lords Of Metal
Issue: 32 - December 2003

Dutch:
My Dying Bride is het boegbeeld van de Engelse doom metal scene. Toen in 1992 ‘As The Flower Withers' uitkwam was dit geen enkelvoudige release maar het begin van een genre dat wereldwijd navolging en aanhangers zou vergaren. Drie kernwoorden zijn hier van toepassing: duister, intens, melancholie. In die eerste jaren bracht de combinatie van viool en death/doom een revolutie teweeg qua cross over. Toen deze viool uit de muziek verdween leidde dit tot het experimentele '34.788%...complete', maar de groep herpakte zich en leverde met de laatste albums terug klassiekers in het genre af. In februari 2004 kunnen we een nieuw album verwachten en dus greep ik de gelegenheid aan om met Andrew en Adrian te keuvelen over de stand van zaken. Met dank aan Michiel B. en zijn vriendin voor de assistentie.


English:

My Dying Bride is the emblem of the English doom metal scene. When ‘As The Flower Withers’ came out in 1992 it was not a singular release but the beginning of a genre that would influence musicians and gather adepts all over the world. Three picked words are important: dark, intense, melancholy. In these first years the combination of a violin with death/doom set a new standard for cross over music. The loss of the violin player led to the experimental ’34.788%…complete’, but after that My Dying Bride found their second breathe and delivered classic doom albums again. In February 2004 we can expect a new album and so I took the opportunity to have a nice chat with Andrew and Adrian about the state of affairs. Thanks to Michiel B. and his girlfriend for the assistance.

Text: Vera



The new album is delayed until February 2004. How come? What’s the reason for it?

Andrew: ‘Two reasons we’ve got, although both are about the same subject. The first reason was the artwork, we didn’t feel was finished. The second reason to have a February release was we refused to rush the artwork. The deadline that Peaceville gave us was unworkable because we were unaware of any deadlines until one week before the deadline. We weren’t ready and we don’t want to rush it. The music is finished, everything recorded, the mix, that’s been done for a while. Then Peaceville came up to do it next year, which is the right thing to do, I’m not bothered because of the delay. They can plan, we have lots of time for the artwork and it gives everybody a little more breathing space. The album is very good and we want the artwork to reflect that’.
Adrian: ‘It feels better to take your time and come up with something good, than to rush anything’.

Is the artwork once again done by your lead singer Aaron?

Andrew: ‘Lots of it. We are also in the process of doing a video for one of the songs of the new album. We’re doing this small Halloween tour, as we call it. The video will be done by a chap who did the artwork for ‘Like Gods Of The Sun’, a friend of ours Andy Green. He is doing some initial stuff that is fantastic, you’ll see. There will be some filming tonight but not for the video. We are not going to have some live footage on the video. We film it separately’.

Tonight there is also a DVD recording?

Andrew: ‘There is about 7 cameras: six major film cameras and one handheld camera. There is a lot of stuff in there tonight, you’ll see’.
Adrian: ‘That is also a reason why the artwork is delayed. We got so many things going on: we were recording the music, artwork for the CD, for the DVD, filming the DVD, the video that we are doing…everything all at once’.

What are you going to use the video for?

Andrew: ‘It is going to be like a promo video’.

Do you still have channels in England into metal?

Andrew: ‘It is coming back. Kerrang is now one of the major heavy metal/rock channels and after a while they will expand. As for regular TV: there’s a few major channels that asked us, because they play nu metal stuff these days. It is helping. We may dislike it ‘cause it is bollocks, but it helps real heavy metal get back in the mainstream. Because when MTV stopped being a rock channel, the video budget was destroyed, it didn’t exist anymore’.

Did you release a video on the last few albums?

Andrew: ‘No, the last one was on ‘Like Gods Of The Sun’ (For You – Vera). We have always been around doing this kind of music and we still consider ourselves as an underground band. It is a very specific market for My Dying Bride. But now it seems worth taking the risk of spending some money on it. Cradle Of Filth has made some videos and they are a hot band now. I think if they can do that, we should be able to do it too’.

They are not that much doom metal bands anymore in Yorkshire I think, or am I wrong?

Andrew: ‘No. The Prophecy is one of them. There’s a couple of other bands but they get lashed away by My Dying Bride or Anathema or Paradise Lost. It is difficult being a doom band in Yorkshire cause that’s nothing special to do when you are born in Yorkshire. They want to be different, they want to be noticed. But the Prophecy, they go against the grain but they love My Dying Bride. We worked quite close before they became the Prophecy, we knew them for a long time. We influenced them even more than we realize I think. And they are proud to be a doom metal band of Yorkshire. It is a good tradition and they are a great band’.

This year you started up a label, Blackdoom Records…

Andrew: ‘Me together with Hamish, the other guitar player, yes’.

Are you about to sign other bands as The Prophecy for it?

Andrew: ‘Possibly. A Polish band at the moment but I don’t want to mention any names because it may not happen for sure. It is not doom, it is a different kind of music. Like a horror soundtrack, it is quite twisted in places but it is dark’.


Does it affect the band when you have a record label?

Andrew: ‘In priority orders, My Dying Bride always comes first and then Blackdoom Records can fill us around because it is still new and we are not in a rush to make any money, we’re not in a hurry to sign lots of bands. We only sign a band when it’s special or different. But if something needs to be done for My Dying Bride it stops and all the bands we’ve talked with know that. There is no hidden bullshit. Of course My Dying Bride will help Blackdoom Records because it is my money I’m spending on the record label. But I don’t want to be in business desperately because I just love the music that The Prophecy and the other band makes. I don’t want to stop being involved in the scene. I just love that stuff and maybe in a couple of years or ten years when My Dying Bride stops and pauses I can still be involved with something else on a different side, having learnt now what it’s all about’.

Can you tell us a bit about the music on the new record?

Andrew: ‘It is much heavier. Probably more like ‘As The Flower Withers’.
Adrian: ‘A blackened record. There are no hugely quick parts, just great slabs of blackness. We took our time, we did everything as slow as it needed to. And it turned out fantastic. Even some stuff you wouldn’t expect, twisted on how doom should be. We are going to play three new songs tonight’.

Hehe, that was my next question! (hilarity) Over to another one: as you are going to record the show tonight, are you planning something special like playing real old songs you haven’t played for years?

Adrian: ‘We spread our songs. It gets worse the more we record. We have a huge catalogue and everybody has a different song he wants to hear. On festivals it is even worse when you only have half an hour or 40 minutes. So at some point you have to decide. We are going to come on a point when we can only play one song from each album’.
Andrew: ‘We are not treating this gig in different ways as the last one or the one in London. That would be unfair because everyone is paying for a show. The same set will be played. We are doing the original ‘Sear Me’ of the first LP. We haven’t played it for about ten, twelve years. Now we do it and people seem to like that, it is a good one to play. That’s mainly the difference apart from the new stuff no one has heard. It’s a good set tonight. And it goes quite fast once we get started for one hour and a half, very little gaps in between the songs. It is powerful. Yesterday was excellent’.

Do you have an idea of the reactions on the new songs?

Andrew: ‘I remember last time the CD wasn’t finished and sometimes I made up the lyrics just before we went on stage. We did that for a couple of times but now Aaron will feel quite comfortable because it’s completely finished. We cannot change anything anymore. You can check it out during the soundcheck. Like yesterday, for these people we are just another band. That means a lot when they stay and you see tapping feet cause maybe they don’t understand the songs, they may not understand the band but they do understand the feeling. It sounds good!’

What struck me too, you always do short tours…

Adrian: ‘That’s because we work. We all have regular jobs. This bus and all looks very glamorous, and I guess it is compared to a transit van. We did that transit van thing in the past. There’s no bands doing long tours through Europe anymore except for real established bands’.
Andrew: ‘What happened, and you know even more than me that there are so many labels and bands, smaller labels everywhere. It is a love thing now, it is too risky. The cake is split into more slices these days. But ages ago we decided to do shortened tours cause we prefer it. We think that works better. Less is more. By not turning up for a while, when you do finally get there people will show up cause you haven’t been there for ten years. Most of our gigs are only reachable by plane. We don’t take any merchandise. Like Greece and Portugal, we just jumped on a plane, we took our equipment, we took our passports and that’s it. While the money is in the merchandise, once again it all looks very glamorous, stepping on a plane and so, but we do it because we love it. When we come back we have to work and in the evening back to heavy metal. We have two different lives’.
Adrian: ‘We played in Leipzig earlier this year at the Full Force Festival. It was a 14 hours travel just to be on stage for 40 minutes. And then 14 hours back. But it was worth doing’.
Andrew: ‘It is like you people writing for a website, come on an interview and taking your time, on the other side there’s we, idiots, who love it as well, and we all get together and celebrate doom metal. You’ve got to love it, doom metal on particular is not a commercial option. And you got to be cause you are dedicated to it. No one is really making any money out of it, except for some record labels, but you do it cause you love it. You have to, otherwise you’ll be unhappy with the results apart from the musical results’.

You started with the band when there was no internet at all. So I guess you must have seen the evolution of websites and internet as no one else. What do you think about it?

Adrian: ‘Our website is done by a good Dutch lad. We don’t pay him for it, he just likes the band. When we see him we give him a couple of beers or so. It is fantastic. But there is nothing commercial about the website’.

But it is a good thing for publicity…

Andrew: ‘It is normal now that you have a website. It is like having glass in your windows. You MUST have a website, it’s nothing to think about someday…it has to be there. Like, I mean…everybody knows what set we are going to play tonight. People in Jamaica, even the guys on the space shuttle they can find out if Aaron fell down if they want. The whole world can tell what we did. There’s digital cameras in the audience and so on. It is a bit frightening to me cause I like privacy. Anybody can see what anybody else is doing’.

Another aspect of the internet is the exchange of music…

Andrew: ‘It makes little difference to me. Lots of bands are sending me tapes now and I link them on MP3. It makes it easy to check out bands. Smaller bands will continue to make no money at all. I’ve got copies myself at home in my collection but if I like the band enough I will buy the original. But that’s probably because I’m in a band’.
Adrian: ‘It is human nature if you can get something for free then you do. It is not victimize to them. I mean, you don’t have to break in the shop, wait for the alarm to go off, steal a CD. It is just download the files from your computer at home. We don’t worry about it cause there is nothing you can do about it. The only time it ever comes up is in interviews’.

You still have everything in your own hands: the artwork, no manager involved?

Andrew: ‘We are self managed. We organize everything’.
Adrian: ‘Never seen the wisdom of paying someone in between. If you want to talk to the band, then just talk to the band, not to someone else’.
Andrew: ‘We do have a tour manager though, cause it’s fucking hard work’.

But that’s also an ex member of My Dying Bride (Calvin, ex guitar player – Vera)

Adrian: ‘He does a lot of work otherwise we are exhausted by the time we have to play. Now we can sit and relax’.
Andrew: ‘And he is good at it cause he is coming from the band. An established member, he was in it for a long time. He knows what we’ve been through. He knows exactly what we can and cannot take, our levels. Before we had tours when things went drastically wrong. We don’t even ask him questions anymore, he comes up and tells us what we want to know’.
Adrian: ‘On tour, all you need to know is where the venue is, where the food is and at what time things happen. That’s all you need. The rest…if you want to go shopping, just go’.

Does Aaron’s graphic website still exists?

Andrew: ‘It is still there. But it is dead for now. The project is not dead, I think he’s just looking for a server’.

We talked about tour life. Three days on the road might be a bit too short. Next time they’ll try to do more dates.

Andrew: ‘We just get into the swing of things and then we have to go back. But first there was only the London show. Then they added two extra days’.
Adrian: ‘One of two concerts in each country is the best. Then everybody enjoys it and people come to see you’.

Why did you choose Hof ter Lo to film the DVD?

Andrew: ‘At the Peacefest this gig was the best one. I don’t know why but it turned out that way, from the band’s point of view looked this the best one to us. And the reason why this one is filmed is simply because it has two shows in front of, to work some cobwebs away. Because the new songs, OK we know them but you never can tell what they’re doing. Live is live and you have to check them out. It gives the sound engineer and the lighting guy enough time to visualize, only when you see it happen you can understand what the band is doing. There is always a learning curve. Some routine gives the band the opportunity to relax and ignore all these cameras’.


All went well, the show was ace, you can read it on the gig’s review. My Dying Bride stays the kings of doom metal. Let’s hope they will return soon but first we can enjoy their ‘thirteenth chapter’ in February 2004!

http://www.mydyingbride.org/

My Dying Bride + After Forever Live » Antwerpen - November 02 2003

Source:  Lords Of Metal
My Dying Bride + After Forever + The Prophecy
Hof ter Lo - Antwerpen (B) - November 02 2003

Lords of Metal

Both Vera as well as Michiel B. are huge My Dying Bride fans. This time the English doom gods held a short 3-gig tour: one in Londen (UK), one in Utrecht (NL) and one in Antwerp (B). Vera and Michiel attended this last gig in order to write our readers this report of the show which was also captured on film in order to be released on DVD later on.


Text by: Vera & Michiel B. & pics by: Natascha


This rainy, dark day in Autumn I arrived rather early at Hof ter Lo. To be sure of and to make clear arrangements with the tour manager, so that, when colleague Michiel B. arrives, we could go on board of the bus to do the interview. Moreover we could expect a few special items today. At first the show of My Dying Bride was filmed in order of the release of a second DVD. At second I had great expectations to see The Prophecy again. The camera team arrived; seven people showed up to make constant close ups of the performing band. (during the interview something to laugh about, later on stage a serious matter!)


Lords of Metal

When we hear The Prophecy’s soundcheck at half past seven, it is about time to open the gates of this doom festivity. It is a crowded venue when around the clock of eight the chats are deafened by the enigmatic doom metal of The Prophecy. I got to know them in February 2003, realized this was something extraordinary and I was happy to see the band performing songs I’m familiar with now. Alas, it was a heavy going today. The goodwill of the audience and the band was largely extant, but the Prophecy was forced to stop after only half an hour, just when we were getting in the mood and longing for more. There also was a technical problem but this was solved quiet fast. Much too short, but in the meantime I enjoyed the impressive wall of sound, split by the multilateral voice of Matt Lawson. Beside a few older songs they played two new tracks which will be on the forthcoming album, namely ‘Cascades’ and ‘Rivers’. These contain more clean vocals and maintain the melodic and yet dominating guitar parade for which the band is known. It is a pity they could not play any longer and therefore I am very curious about the article of colleague Kasper in Utrecht. Because in the Netherlands they played one hour! I’m really jealous this time!(Vera)


After the decent but a little too short performance by The Propecy our very own After Forever were up. Maybe a rather odd band in this doom metal line-up but for yours truly this wasn't quite that bad. It had been rather quiet around this Dutch band and besides that the band had spent their Summer vacation inside the studio in order to record both a new mini-cd, which was to be released shortly after this gig as well als a new album. And this new material made me rather curious to be honest. After Mark Jansen was fired from the band and had released a killer AF-style debut album with his new band Epica I was dying to hear what his former band would sound like now. The band who brought us the album “Decipher” which in my opinion was close to perfection. There had been some speculations about their new sound but the best way to fid out about that was hearing and seeing it myself..


After Forever showed their guts and started off with the instrumental intro of their new mini-cd “Exordium” entitled “Line Of Thoughts”. And if that wasn't enogh the audience was immediately treated to a new song: “Beneath”. The Belgian crowd's reaction was a little tame at first so it was time to get them going with “Monolith Of Doubt”. Also 2 other new songs “Glorifying Means” and “My Choice” were introduced. I have to confess that these new songs didn't strike me as much as “Monolith Of Doubt” and “For The Time Being” when I herad those 3 years ago just after the release of “Prison Of Desire” but that shouldn't mean anything. With “Follow In The Cry” (with a Pipi Longstocking intro) and “Yield To Temptation” their heavenly debut album was included in the set but the crowd really got wild with the Iron Maiden cover “The Evil That Men Do”. After the “Decipher”-masterpieces “My Pledge Of Allegiance part I”, “Forlorn Hope” and encore “Emphasis” the show was over although many spectators didn't wait for that which made it more and more crowded at the entrance..(Michiel B.)


I was convinced that My Dying Bride is never dissapointing on stage but tonight I had to adjust this opinion a little. OK, I was really pissed off everything was built full with cameras and I wasn't allowed to use my flash light while taking pictures (and half a meter behind me the crowed flashed their asses off) which made over 90% of my pictures useless. But also MDB seemed a little overwhelmed by all the cameras and the DVD recordings. The band started with the title track of their last album “The Dreadful Hours” and “The Raven And The Rose”. The atmosphere which was created was great but I had the impression that the sound was more adjusted for the DVD recordings instead of the spectators (at least I hope so cause otherwise a lot of mixing and mastering has still to be done). Things started to get interesting when MDB played a nice new song entitled “The Prize Of Beauty” which they faded out into my all-time favourite “The Cry Of Mankind”. Also newsters “Catherine Blake” and “The Wreckage Of My Flesh” were introduced to the (by all the cameras a little too) enthousiastic audience. The performance was rather decent although I think in particular the choice of songs could have been much better (the album “Turn Loose The Swans” was completely ignored for instance)..(Michiel B.)


And then it is time for MY DYING BRIDE. While Michiel and I take pictures in overdrive, a solid wall of darkening spreads its curse over the heads. It comes rolling downwards from the stage, a sound My Dying Bride has a license to. Like we heard before, they play songs from all their career, even ‘Sear Me’ in the original version. Aaron is dressed in a white, flashy ‘space-jack’ as if they want to emphasis the ‘not of this world’ sublimated themes of the band. No one stage dived today, in opposition to the Peacefest in 2001. This was also caused by the gap in between the band and the audience where the camera crew did a serious job. Being filmed all the time can destroy the ultimate spontaneity of a band but after three days on a row they are pro enough to take the crowd by storm once again!(Vera)







More pictures: After Forever | My Dying Bride


After Forever Live » De Effenaar, Eindhoven - November 14 2003

Source:  Lords Of Metal
After Forever & Nemesea
De Effenaar, Eindhoven - November 14 2003

It had been quite a while since I had last seen After Forever as a headliner. Of course I don’t wan to say anything bad about their great performance at the Metal Benefit Festival, last September in Nijmegen, but since I was half of the team that had organized that day, I was so busy I hardly had the time to check them out. Nowadays, the band are such a big name in the Netherlands that there are several opportunities to catch them playing live, and when I found out they were going to sell out the Effenaar again, I know what I had to do.


Text by: Aernout


After Forever always make the best of it, live. Of course they aren’t flawless, but their enthusiasm makes up for everything. They don’t have to be flawless, since everything they do is being blindly adored by a host of followers. It will therefore be no surprise that I was more curious about their new opening act, the Dutch Nemesea.

The only thing I knew about Nemesea was that their singer, Manda Ophuizen had lovely long hair and that she was a looker. Not the best basis for serious journalism, but I was free of any prejudice and willin to be surprised. Without much ado, and without much response from the audience, the five male musicians entered the stage and started with the intro of “Threefold Law” and thus the band’s twelfth ever performance. When Manda – indeed a feast for male heterosexual eyes – appeared in not too much fabric, the crowd went wild. She only impressed me with her voice, however (yes, I know, I am such a professional). She didn’t seem, to be all too pleased with her outfit, by the way.

There is plenty of room for improvements, but I do think this band has potential. Manda, however inexperienced she may be, is an eye-catching person on stage, who obviously feels her music. Some of the other band members could have done better on stage, but this will undoubtedly have to do with their limited experience. In the beginning it is far more important that they play their music in the best way possible, and this seemed to be working out rather nicely.

I was surprised at their choice of covering the recent Nightwish-hit “Bless the Child” which made Manda’s voice stick out. She sounded better than during their own songs, even though she didn’t really try to sound like Tarja. One explanation I could come up with is that they are still looking for the right way to sing and play their own songs, and with a cover you have the example already there. People were enthusiastic, and much more enthusiastic than they were about After Forever’s previous openers, Autumn.

Next up were After Forever. The new mini-CD ‘Exordium’ has just been released, but I didn’t have it yet. The shows have been adapted to the new mini: a new intro (heavier, less spherical than we were used to hear from them), new songs (four of them, all of which were performed today) and a new decoration of the stage (nice backdrops with the AF-logo and balls that referred to the ‘Exordium’-theme). Most of all of course, it means those new songs.

I must be honest and say that they take some getting used to. As I said earlier, I didn’t have the promo yet, so it all was new to me. It’s no surprise that not having Mark Jansen’s hand in the writer also had some effect on the music. Whereas ‘Decipher’ was the logical successor of ‘Prison of Desire’, I cannot say such a thing of ‘Exordium’ just yet. I have only heard the songs being played live, once or twice. My first impression was no deception, however.

Fortunately they also played classic songs such as “Yield to Temptation”, to me the After Forever song with the most impressive intro, and I could only laugh with enjoyment when I heard the Pippi Longstockings intermezzo in “Follow in the Cry”. All in all a lovely night in Eindhoven.

Freckles on her nose,
Diddle diddle dee,
a girl came riding
Into town one day
Diddle diddle she was quite a sight.

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