If one overriding factor typifies this release it is the sense of ambition and excitement that flows from both band and composer and it is clear that any trepidation the band might have felt during the painful search for a new singer has long since abated. ‘Ghost river’ is a case in point, a blistering work it combines Nightwish’s furious classical bombast with hints of eighties metal (via the opening riff) and the familiar brutal passages that worked so well on tracks like ‘bye bye beautiful’. By working on both levels Nightwish have ensured that ‘imaginarium’ will last far beyond the initial buzz the tracks generate and fans will get a great deal of pleasure from dimming the lights and drifting into the imaginative and intelligent world the band have crafted. Although thematically linked, the songs work in isolation and the music is ubiquitously stunning meaning that it is possible both to sit and listen to the whole piece as one beautiful work of art or dip in to your favourite moments and get an instant fix. A modern reimagining of ‘the snowman’s’ classic flight sequence, ‘storytime’ perfectly encapsulates the myriad wonders to be found on the album. As opening single ‘storytime’ kicks in, the guitars rip a hole through the Hans Zimmer-esque score that introduces it before the track dips into a chorus that is painfully memorable and addictive. Moreover, whilst the band have not reneged on their symphonic side, ‘Imaginarium’ is an album of devastating heavy-metal power when it chooses to be. The epic feel of ‘Dark Passion Play’ and ‘once’ has been retained with huge swathes of sweeping orchestral work flowing through the album, but there is also subtlety and restraint and Anette’s playful voice is perfect for the subject matter and feel of the album. Here we find Nightwish recording an album largely shorn of expectations, at least with regards to the vocalist, and it is interesting to note that ‘Imaginarium’ would almost certainly not have worked with Tarja’s bombastic approach. ‘Dark Passion Play’ was a great album that was dogged, not by any failure on the band’s part, but by the unreasonable weight of expectation placed upon it before it had even been recorded.
Named ‘Imaginarium’ the album was to be a full-blown conceptual piece with a movie and artwork to match and as details of the project slowly seeped out the internet buzz reached fever pitch. However, in recent months tantalising hints began to emerge about an ambitious new project. Following a tour dogged with stress, not least the infamous show when the criticism overcame Annette and she left the stage in tears, questions were raised about Nightwish’s future and the band vanished from sight. Sadly many were left unconvinced by new singer Annette Olzon, largely because of her marked difference to her predecessor rather than down to any lack of skill on her part and yet on ‘Dark Passion play’ Anette turned in a fine performance that should have won her plaudits rather than mealy-mouthed criticism. That assumption did a grave disservice to Tuomas Holopainen’s astonishing song-writing skills and ‘Dark passion play’ proved that Nightwish are, and always were, far more than an impressive, albeit diva-like, opera singer. When Nightwish fired Tarja many considered it to be the end of the band because they assumed, wrongly, that Tarja was the driving force that gave the band their power.
Replacing a key member is never easy and when your key member is considered to be, however erroneously, the figure-head of the band it becomes all but impossible.