Cheers Geebz! That descending chromatic in the first verse is the same in essence for both versions, but that organic unadulterated harmony with Floor’s instrument and the rest of the band gives me chills that I don’t get from the studio version. Her instrument quality and ability really opens a lot of possibilities for the band in both dynamics and arrangement.
Yep - Floor's version - that's music - that's storytelling on the highest level. You feel the story in mind and soul. Anette were good, snd and Marko has also done a version - but none of them are even close to Floor's
Full disclosure: Classically trained bassoonist here, as well as saxophonist and guitarist here. I agree that it is hard for those so musically inclined to turn off the scientific, analytical part of a musician's brain and just listen without wanting to figure out what was done by who and where, and the intricacies. But once you're able to shut that down, it's a wonderful listen, especially when you realize that you can get caught up in the STORY being told in the song, which if you're an English Literature nut, is another entirely amazing rabbit hole to go down.. The references to Stephen King, the Raven, the Last Supper, the crucifixion of Jesus, and inserting yourself into Edgar Allen Poe's The Pit and the Pendulum, while telling the story of how the "old you" died, while the "new you" is beginning.. that takes some serious compositional chops. I'd love to play every part from the instruments I can play on this.. no part would be spared! but to answer a couple of questions for you: just the mixing alone of this album took over 75 days, because of how much was added to this. For the orchestral parts, the London Session Orchestra was brought in, led by Pip Williams.. the same conductor who composed and led the orchestra on the Star Wars soundtracks. Also brought in were the London Metro Voices Choir.. and to top that off, both the choir and orchestra were recorded at Abbey Road over the period of 8 days, so you know no expense was withheld for this. This came out so well that Nightwish has the London Philharmonic on permanent retainer for all of their albums going forward. About the vocals: as everyone already mentioned, on the album track, the female vocals were sung by Anette Olzon, who was their second singer. Marko Hietala provided all of the male vocals on this album. Live. Nightwish has never played with a live orchestra. I would pay good money to see them do that, however! The venue would have to be big: the orchestra used had 66 musicians, another 32 members of the choir, and 12 gospel singers, so to add them onto the stage with still enough room for the band would be HUGE. That's why it's okay for them to use backing tracks, because that symphonic feel is a huge part of their show and who and what the band is. Finally, have a listen to this again, and recall your last reading of the Pit and the Pendulum, especially how the subject is recalling his life as the pendulum is swinging lower and lower. When you get to the whispered voice saying "Now I only have 3 minutes and counting", either note the time in the track when that is said, or start a timer. Exactly 3 minutes from that part, you hear the blade strike, killing the Poet. When was the last time you heard someone compose their own death DOWN TO THE EXACT SECOND, including his own eulogy? That... is the amazing composition of Tuomas Holopainen.
@@TheJulianFletcher : That comes from playing over a backing track. Timing is exactly the same every time. And with symphonic orchestra blended in you just have to have that track.
The studio version is great, and Annette certainly does a fine job vocally, but the live version at Wembley with the dynamism of Floor's vocals is the gold standard.
I enjoy both but the studio version has more plays on my Spotify. This album and Imaginarium are some of the best albums I've ever heard from front to back no bad tracks. I like to hear albums as they were intended. (I love the floor albums and can't wait for more don't get me wrong). Floor does the songs amazing live and are worth a listen but all I see in comments is to watch the live watch the live. Kind of snubbing the album and anettes fine work
@@qsxmirage7274 I agree that the album versions of the first two singers get snubbed too often. But in regard to your comment about enjoying it as intended: Who’s to say that the live version doesn’t have any fidelity to what the song was in it’s original conception. I mean if they do have a different arrangement live then you have to give some credence to that decision. If the song writer gets second chance to recreate with some variations then that variation has to be fairly definitive in it’s own right.
I'm glad you did the album version because it gives you the best feel for the depth of the composition. All those orchestral sounds here and there that can't be distinguished live, you can hear in the studio version and they matter. Small details really really matter when it comes to songwriting.
with Annette it's a song, but with Floor it's an emotional rollercoaster, you can feel it to the bone. you should always look up their live performances, they are 1000 times better with an audience
"with Annette it's a song" no! with Annette it is an absolute masterpiece, which alone is worth the price of the CD. And Annette did a job that was absolutely up to par. Then certainly Floor took it to another technical and even more emotional level. I agree that live is better :-)
Floor's live version will reach into your chest and tear your heart out. On top of that, at the end of the three minutes, you get the Tuomas gesture that says it all.
Great reaction, I love your videos! You asked if this is based on any pre-existing works and the answer to that is mostly not. It's true that he invoked the imagery present in Edgar Allan Poe's work "The Pit and the Pendulum", but this song was created as an outlet for all his emotions in regards to the departure of his childhood friend Tarja from the band, how the general public turned against him and how he was mourning the whole situation as if it were a major death. He was even driven to the point of having suicidal thoughts, and used this song as a means to artificially kill himself, so he could experience relief. "I only have three minutes and counting, I just wish the tide would catch me first and give me a death I'd always longed for"
Powerful song, made in the aftermath of the firing of their first singer, Tarja. Many in the public blamed Tuomas. He was unable to grieve because his friends were hurting more (I cannot cry, for the shoulder cries more). Drove him to the point of contemplating suicide....fortunately, he just did it in song. The higher singing in this one is a boy's choir, Annette didn't have this range. The live version with Floor Jansen is epic though. Definitely check it out....the whole stage presence during the song is one not to be missed!
as far as I know the start of the live version (White Lands of Empathica) was also the recording from that boy singing. During the Pacific though she does replace the vocals of the boy and that's where you can see (again) how amazing Floor is.
@@klaymor73 I dunno, from what I understand is that Nightwish are seen as a sort of national pride so at least in Finland this was a public outrage. It's amazing though to see that in this song he explains that he felt terrible about doing it, but it had to be done at the same time. It resonates with me because I've had to make a few decisions like that in my life. I'm sure many other people can relate to that.
🤘🇫🇮 Nightwish army Finland 🐻❄️ No matter which version you listen, it's the composers child, from his experiences and from depth of Tuomas imagination and brain. I'm glad you took this one. Mainly because the live version would have distracted you even further from the following and the composition itself. It was filmed with captivating talent and seeing Floor and others stage performance would have made your valuation more difficult. Stay healthy and safe...
Fun fact, the album was recorded with 66 members of the London Philharmonic Orchestra, 32 singers from The Metro Voices and twelve gospel singers. The final mix took 75 days
Annette Olzon, the second singer and replacement to Tarja is on vocals on the album track. Some of the dynamics were adjusted for her voice. A fuller/richer version would be with Floor Jansen live, and there is a much darker version with Marco (Bass player/male vocals) on vocals. The backing track is done by the London Philharmonic, with Floor's version there is not the doubling of voice in the second, chorus, and final section. The literary aspect is based from E.A. Poe. Pit and the Pendulum. I could write a book about this song, but that will give you the basics... the third section... Dark Passion Play, was originally a piece written for Tarja, that was placed in here as part of his dealing with his depression after the break up of Tarja from Nightwish. The final section is quotes from his parents, from the conversations Tuomas had that helped him get through the very nasty breakup. (Yeah it got stupid) I'd take a listen to the live version off screen just to see the differences in dynamics with the same music. The composition was done in three parts... First with Tuomas doing the base writing... about 3 to 6 months according to interviews. Then he sent it to Marco for additional input and first round editing. Another 3 to 6 months. Then to Philharmonic, where the orchestral arrangements were done, another 2 months. Again all according to interviews with Tuomas.
The live versions of all their songs are always simplified with vocal layers removed as well as guitar layers etc...it's what you do when you are restricted by the live setting and your a band that prefers to play honestly. I love the live version with Floor particularly due to the interactions they have with each other on stage but this is the definitive version for me and always will be. Nine times out of ten I prefer NIghtwish live but this song I prefer the album version as it needs all its musical extras and mixing etc.
@@mnewm21 In most case yes, that is very true... Nightwish is a different beast all together though. If you find one of the behind the scenes concert videos, I suggest you give it a look. All their music has all their backing tracks for live performances since they can't afford to have a full orchestra backing them on tour. The entire set is programed out for that set. One of the reasons they had Annette backed and doubled is because she doesn't have the dynamic sustain or fullness of voice in the track or live. Not saying she isn't a good singer, but she doesn't have the vocal range or depth of either Tarja or Floor. In the live versions the backing voice is the same voice that does the opening operatic child voice and child's voice over on the backing track and in their in-ears. In Floors version, the backing and doubling has been removed from that section and is only on the opening and voice over. Having seen Nightwish live, with Tarja, I much prefer the live versions to the studio tracks.
@@terywoodsr.8690 I agree with you on all the click track and orchestrals and chorals but Tuomas said in an interview that they always change the "band" parts of the songs for the live as they play honest music and that means they don't have the extra overlays of the band instruments nor do they use the extra overlays of the band vocalists. This was the problem with Annette live as she didn't have the vocal strength night after night to sing the songs to a level I was happy with and why I love Floor's live versions, but this song is way better on the album musically and for me the one I listen to for this reason.
@@mnewm21 Yes, I know... Tuomas wants the fans to know it is THEM playing and not lip syncing. They must have an awesome production crew. I guess it is the difference of the musical form. Having been in an orchestra, I prefer live living music rather than canned or studio music. But too each their own. It might be that I heard them live first, but I've always rather a live version where you can feel the music, over the technically correct studio mixed music, especially with the over use of auto-tune, dubbing, and splicing going on in what some people call music.
@@terywoodsr.8690 yep all you say makes sense but this song is one that I heard it heaps of times on album first that when I hear it live all the interesting musical parts are missing! Most of their songs live are better as I tend to feel Tuomas tends to over produce the songs on thee albums and I am not necessarily a fan of the layered guitars and vocals but for me in this song it all worked so perfectly on the album that I find the live lacking. Except for Floor's vocals but that is not the only reason I enjoy Nightwish that is just the cream on the top I have come to enjoy over the last 10 years. Living in Aus I am waiting impatiently for them to head back down under so I can hear them live again
I believe Tuomas drew from the story of The Pit and the Pendulum by Edgar Allan Poe for some of the imagery in this. The overall theme does have a huge back story but grief and betrayal feature largely. That great bass line you were enjoying when Marko is singing, he plays that while singing live and just doesn't glance at his hands which blows my mind. Love how much you appreciate this composition.
He drew from a lot of references here: you're right about The Pit and the Pendulum. He also drew from The Dark Tower, which is a series written by Stephen King. In there was also references to the Last Supper, the crucifixion of Jesus, and his parents. In the live performance, he also incorporated pieces of another of Poe's work, The Raven.
Have you ever thought of reaching out to Tuomas and see if an interview would be possible. I would be extremely interested in seeing a composer discuss that side of Nigthwish with Tuomas. Another possibility would be to interview Pip Williams which is the co-arranger with Tuomas when working with the orchestra.
Great stuff Geebz, congrats on the 200k! As killer as the studio production is on this, I actually think the live version has a better blend of the heavy and orchestral. There are a couple nuances that aren’t included in the live version, but the blend hits so much richer. Both sonically in terms of mix as well as compositionally. I know you listen to vocals as an instrument (whole heartedly agree). The live version has that instrument much more present in the cohesiveness of the blend. I highly, highly recommend you check out the live version. Like I mean that as a human to human, not as a subscriber to a content creator. th-cam.com/video/N4Vfy5yCy-c/w-d-xo.html
Very cool never heard of them. I am not a fan of orchestra/metal mix but I can definitely appreciate the amount of talent and teamwork must go in to creating such a beautiful production. I love reading the comments from the "die hards" on each group. That gives me more songs to focus on from some of these amazing artists. So glad I stumbled upon this journey!
I was bought up with classical music so often find the "symphonic" part really lacking. Tuomas Holopainen however is a fabulous composer and a genius at placing sounds in a composition in ways you would never expect. I can think of nobody else who could pull off steel drums in a metal song.
Just watching your reaction to this was awesome! There's much going on with this song and your facial expressions and inability to sit still were a clear indicator of your feelings and the need or want to respond and exclaim! Dude, you're one of us now :D Love your input as a composer. Every Nightwish song is a thrill ride! I see you found the live 'Floor' version....I was going to recommend it too!!!
this song and version was my entrance into Nightwish, While I like this version Floor is just stunning. She was meant to sing the song her range and power di it a justice Annette lacks.
An old “on paper” and drop the needle composer here, too… this track is out of this world, I’d love to comb over the score as well! The cross-genre instrumentation, layering, dynamics, etc… this is a full package and I’m a little embarrassed to have just first heard.Thank you.😉👍
@Bubba, welcome to the wonderful world of Nightwish. Please explore their catalog of music. Go for pretty much anything live from, End Of An Era, Wacken, Wembley or Buenos Aires. From End Of An Era I highly recommend their rendition of Phantom of the Opera and their tribute of High Hopes by Pink Floyd. I think you would really enjoy Ghost Love Score as well. If you want, look up pretty much any Ghost Love Score reaction video and look for a comment by Gabriel. His comment will give a brief history of the band and links to some of the high lights of Nightwish's catalog.
@@Bubba-zu6yr you're welcome. I hope you enjoy your journey into the music of Nightwish. Most of the composition is done by the keyboardist, Tuomas Holopainen. Many people call him the Mozart of metal.
Reporting for duty from Nova Scotia. You've still got such a great Nightwish journey ahead of you Geebz. As masterful as the engineering is on the album versions, with Nightwish you almost always want to pick a Live version. I can't wait to see which one you pick next time you make it to Nightwish. The last of the big multi-act epics is "Greatest Show on Earth". That one's even longer, but I think you'll get a lot out of it. (Pick Tampere live. It'll blow your mind.)
Agreed! And for a music-focused reaction the studio version is definitely, IMO, the better choice since you can hear all the layers and the orchestration in so much better balance.
Great reaction! Your observations are really interesting and thank you for sharing them with us. I'm pleased to see that you have now watched Floor perform this live, I find it so powerful and yet tender at the close.
hands down one of the greatest cinematic compositions ever created. been a fan of nightwish since my early childhood and when this album came out, aw man. the nostalgia doesn't cloud how great this still is.
This is their middle singer, Annette. This is one of those songs that the Nightwish diehards will say it should be listened to after you have listened to a few other songs as it has a pretty strong history in the band, but I think this song is worthy of an earlier listen just for the composition of it.
Really great reaction again 💪 Love that you also had a listen to the live version with Floor. This song really gets me every time…. So much emotion in it
Take a chance at Diablo Swing Orchestra, you can start out with "A tap dancers dilemma". But you'll get a unique musical experience, but perhaps not so much of a complexity of musical composition, nonetheless amazing band. Their newest album is amazing too
Oh man, I used to love that band. But after the singer left, I just couldn't get into her replacement. I gave their new album a try, but it was unlistenable to me. Just weird shit for the sake of being weird. The song sung in spanish by a non-spanish singer? Why?! My brain kinda forgot how to appreciate that type of weird shit. I listen to their first 3 albums from time to time, but the familiarity trumps over the weirdity. I just can't appreciate new music like that.
awwriighhtt! So hyped when I heard your clue in the last video about a pendulum and a band being big in Europe, Nightwish was literally my first thought and I absolutely adore Nightwish! Super glad you made this reaction and dissection. My thanks from Sweden!
Nightwish was my first favorite band growing up, Dark Passion Play is one of the best albums ever! Your reaction was perfect lol, I was super overwhelmed too when I heard this song for the first time, but more like "What am I hearing right now this is amazing".
You are correct, there is a huge, pivotal story behind this song for the band. Worth reading up on. Agree with the comments on the live Wembley performance.
Sounds like final fantasy music. It's like the sound track to a whole game. The long format with it changing so much remind me of Geinoh Yamashirogumi's music from akira. You'd love his work Requiem and illusion from it. It's like japanese orchestral with a church vibe.... if that makes sense. 11:09 a wilhelm scream lmao! Gummy bear... uh huh.
I'm glad I'm not the only one who really loves Anette's voice here. If you haven't I wholeheartedly recommend The Dark Element, she truly has grown into an _even_ better vocalist, and It's amazing to hear. 🙈 There's something about Anette's voice I just like better. I can recognize Floor as technically the better singer, but I don't know how to word it. Anette has this whimsy and fantastical tone I simply prefer.
The voice in the beginning is a young boy. Later on in the song another young boy sings as well. The orchestra and choirs you hear is the same that was used in the Lord of the Rings movies. I think it's called The London Symphony Orchestra or something like that. The recording of the orchestra may have been recorded in Abbey Road studios- not sure about that though.
It's the London Philharmonic. And yes, it is indeed the same orchestra heard in LOTR. They are practically on retainer for Tuomas whenever he needs them. Dude has a lot of respect in the Orchestral world, and deservedly so!
Erik Randan That's cool! I think a lot of bands who are going to use an orchestra and a choir in their music can learn a lot from Nightwish's albums, especially from this song.
@@kristianm.6946 most definitely! I don't like using the term genius, but Holopainen is definitely a musical genius. I remember reading a comment from the guy who does the orchestral arrangements for Nightwish where he said that it's probably the easiest arrangement jobs he gets because Tuomas pretty much already has it done when he brings them the tracks lol
There is a demo version of this where Marko sings the whole song which is much darker but still amazing. Glad you are focusing on the music and the composition which is phenomenal as too many people focus too much on the backstory. Its obviously important to understand the story so you can understand why it was written as it was, but I like that you are reacting to the music and its great to hear your thoughts on the arrangements etc. You can absorb the back story yourself. :)
Floor Jansen's live version blows this out of the water 10 fold Floor's vocal performance compared to this is in a different universe AS STATED IT IS LIVE TOO. FLOOR FAR FAR MORE POWER, ENERGY, EMOTION AND SKILL
One of the things to note is that when Tuomas wrote this song, Nightwish did not have a singer. None of this album was written with Anette's range in mind as she was yet to join the band. When we listen to this song on the album, we hear boy sopranos and a choir. At least some of the reason for them was to fill in the places that Anette couldn't reach. Floor can reach these high notes and offered to sing all of these passages. Tuomas opted to keep the first passage and the spoken segments with the boy sopranos to retain the sense of innocence. Floor also adds her own flourishes that don't exist in this version, so that when we listen to this version after hearing Floor's, it's like there are little bits missing here and there. One of the most noteworthy differences between a Floor version vs. the original performed by either Anette or Tarja, is how much less prominent the choirs on the backing track have become. With Marko having left, Floor is singing the original vocal track, plus the choir tracks and now Marko's tracks as well.
Not sure how Tarja would have ever performed this song, since it's about the aftermath of her being fired. Also, I may be wrong, but I thought this tour was the last time they ever did this song. So, no, Floor isn't singing all the tracks. If I'm wrong about that, please let me know.
The great part of the studio version that the instruments are much clearer than the live version. The live version is indeed superior thanks to Floor, but also Markko's delivery of his lines is much better.
Tuomas composed the music, The London Philharmonic Orchestra with composer and conductor Pip Williams added the orchestral parts with Tuomas' guidance.
There is a third version of this masterpiece that is often overlooked, The original version was sung almost entirely by Marko. Some slight lyric differences but more pain also.
There's a great documentary series that Nightwish released in the run up to releasing their last album, Endless Forms Most Beautiful. It's available on TH-cam and definitely worth a watch if you'd like some insight into their recording/arranging process. Great reaction, been waiting for this one for a while . Thank you for brightening my morning!
The best Nightwish reaction I have seen. As 'Just a listener', I've often wondered if those with musical education and background can still just enjoy music for what it is without over analyzing. Thank you for bringing that up and showing some of your frustrations with that. I think it's time for more Nightwish!
DUUUUD!!! Since you checked out the live version why in the heck you didn't do a reaction video of it??? 😮 Coz I kinda know you appreciate great live performances aside any well composed music from your point of view... 😉 And you Know how high the production value is on any Nightwish gig. Would like to see your reaction on that particular Wembley live of "The Poet and the Pendulum"... Even though you already have watched it... Just a suggestion män. Anyways... Cheers from Finland 🇫🇮, the Mother Land of Nightwish 🤟🥶
Nightwish Army New Zealand Chapter haha. Also Opeth, Jinjer, Spirtitbox, Epica, Radiohead and Tool army - and a few more. Kind of glad you did this version as Floor doing this song really hits me in the feels a little too much. Glad you did watch her do it live as per the comments though. But too much for me tonight.
There is some really interesting behind the scenes type of videos on TH-cam where you can see how the band works in studio - and how they work with London Philharmonic and the choirs in London (Angel Studios I think?). So if you would like to dig deeper in that rabbit hole, I recommend to check that stuff, it's fun to see how the music comes to life!
This a great song written by, at that time, a tortured soul.. I hits u in the heart when lyrics like these resonates in ur soul. Great reaction, as always. Gd luck with ur surgery. Stay well my old friend
100%. The nature of symphonic really has a much richer effect in their live recordings. As much as I love (all eras of) Nightwish, I feel like sometimes there are one too many bells or whistles used on the studio versions (figuratively, but also literally lol). When they perform live, it seems like the alter the arrangement slightly and it often means that gap is picked up by someone on stage and it just hits soooo much harder, much richer sonic experience.
You should definitely do a deep dive on Nightwish! Definitely the kind of band with seemingly endless musical territory to traverse like Opeth or Mastodon. Also probably my favorite. Definitely the lineup with Marco, Floor, and Kai, most of my faves in one band. Marco was a severely underrated power source in their music. I don't know what the other soldiers have recommended, but my list for a slow burn review would probably be: Dead to the World Ever Dream Creek Mary's Blood Planet Hell The Siren Master Passion Greed The Islander Ghost River Fantasmic Pharaoh Sails to Orion Astral Romance The Greatest Show on Earth (probably their most important/impressive song to date) Rest Calm Turn Loose the Mermaids Last Ride of the Day And any songs on side A of their most recent full length, Human :II: Nature (I really like Music, Noise, Pan, Endlessness and Tribal myself). Hopefully enough of my faves overlap with the songs your other viewers wanna see you review =P
First off, I hope the shoulder is fine... I see you massaging it throughout the video. Floor version (live) far superior to this. But you already commented on it... Now, if this was sung by Tarja. How incredible it would have been. It would have taken the whole band to another level. Anette just doesn't have the power needed to front this band. She is a fine vocalist on her own right, this is just too overwhelming for her... And eventually the reason why it didn't work out too well with Anette. Basically they were locked out of a lot of the Tarja songs as Anette just could not do them. And some of those attempts just failed miserably... It is sad that it took the Tarja firing to get Tuomas to this place and to really push the limits with the music. Tuomas was in love with Tarja, at least musically if not completely romantically, she was his muse and inspiration to write the songs. And this song is about how dead Tuomas felt after they did what they did after "end of an era" concert.
The easy way to show the difference between Annette and Floor. Listen to the original Annette. Watch the live version with Floor . THEN listen to the Annette version again... This version is actually great. The live version with Floor is...
You asked about the details of composing and orchestrating this piece. Here is a small behind the scenes clip of the recording the orchestral track for The Poet and the pendulum from Abbey Road Studios th-cam.com/video/LAQRTCLbFOo/w-d-xo.html
Fun Fact: The Song was the most hardest for Tuomas to write and is highlighting the issues that he had preparing the early album ideas. Mostly because he fall into deep depression after they had to kick out their original singer Tarja Turunen. Originally the composition was 26 minutes long. But after many rewriting he shortened it down to "just" 13 minutes.
This was my first time listening to this song. I don't think I've ever experienced as many, or as strong emotions listening to a song before. I definitely think I have a new band obsession for awhile
This is the song that first got me into Nightwish! I love Floor so much, but this album is still probably my favorite and because of that, Annette holds a special place in my heart.
Between first and second speech there are 3 minutes ("3 minutes and counting"). For this album, the vocalist was Annette Olzon (First was Tarja, then was Annette and now is Floor). Great analysis and coments.
So, Annette gets a lot of.... dislike (lol) from the fandom, but I honestly believe that her being less operatic FORCED the rest of the band to compensate and refine their sound. Modern Nightwish is not JUST Floor, but the whole band, playing and composing. Look at the work they did with Tarja. The only album that is even close is Once, but that is still a far cry from any song on this album. And you can see this evolution through Imaginarium and into Endless Forms. Not saying Annette is not the weakest (also not agreeing that is a reason to dismiss her) but only by being forced to grow themselves did they become the band they are now
I wanted to let you know about the song, but the i realized the NIGHTWISH ARMY is present! So everything I wanted to inform you on....has already been said :) Best fancore on the planet!
yeah, copyright, monetizing etc, in know, but :never ever never ever hear an Studio version from NW, when you get Hands on Live performance ;) good, that you catched up an Live Version afterwards, it does the Song much more credit. stay save.
Hope your shoulder recovers soon. Never actually listened to Anette's version of this song. But now I have. As a composer I guess it is more about the composition and not the execution. On stage Tuomas had Floor's voice removed from his in-ear-monitor, because her execution is so emotional. I suggest you listen to Floor at Wembley as well It is based on the book The Pit and the Pendulum by Edgar Alen Poe ( a prisoner of the Spanish inquisition that is accepting that death is inevitable) The song was written when Tuomas got into a deep depression when he had to fire the previous singer. He did not handle that in a sensitive way by using an open letter. He lost his innocence, his muse, his friend, the entire repertoire of the band (because no-one could sing like Tarja). At the same time he got fried by the media and Tarja's fans, even the Finnish president had something to say about it.
I would really love you reacting to Shoemaker, also by Nightwish with Tuomas as composer. Ik think you will love it. Maybe dig up little info on Eugene Shoemaker before your reaction. Doesnt have to be much, but it will add a little to understanding what is happening in the song and the composition.
Well....we sure hear the pendulum in the studio version. Would have liked to see the Wembley video reacted to as well. Have missed you reacting to Nightwish.
Appreciate your total focus. On this, and every reaction. Must admit that it makes sense to react to the studio version, as much as it pains me. Floors' version is immensely superior. In my humble opinion of course. This highlights Tuomas' compositional mastery. Thank you for reacting to this, even is it's in this version. Cheers, and thank you again.Ps: I love your darting eyes, indicating thinking and feeling. Priceless. Thank you once again, sir.
OOOHHHH!!!! Epic Dragon Slaying Music!! AWWWRIGHT!!! I heard Jason Richardson Slayed 2 dragons at the same time with his guitar riffs while Luke Holland used Drum distraction tactics on the Ho's Down track!! 🤙😁✌🎶
Also another great Nightwish song to react to, would Master, Passion, Greed, as it is a very different song for Nigthwish, but would really be interesting to see you analyze the orchestral arrangements. th-cam.com/video/hBTRq2Kgt3Q/w-d-xo.html
as you may now know this is the second lead singer Annette Olzon some not everyone say does better in studio than live Lyrics The end The songwriter?s dead The blade fell upon him Taking him to the white lands Of Empathica, Of Innocence Empathica Innocence The dreamer and the wine Poet without a rhyme A widowed writer, torn apart by chains of Hell One last perfect verse Yet still the same old song Oh Christ, how I hate what I have become Take me home Get away, run away, fly away Lead me astray, to dreamer?s hideaway I cannot cry ?cause the shoulder cries more I cannot die, I, the whore for the cold world Forgive me, I have but two faces One for the world, One for God save me I cannot cry ?cause the shoulder cries more I cannot die, I, a whore for the cold world My home was there and then These meadows of heaven Adventure-filled days One with every smiling face Please, no more words Thoughts from a severed head No more praise Tell me once my heart goes right Take me home Get away, run away, fly away Lead me astray, to dreamer?s hideaway I cannot cry ?cause the shoulder cries more I cannot die, I, the whore for the cold world Forgive me, I have but two faces One for the world, One for God save me I cannot cry ?cause the shoulder cries more I cannot die, I, a whore for the cold world Whore for the cold world Whore for the cold world Sparkle my scenery With turquoise waterfall With beauty underneath The Ever Free Tuck me in Beneath the blue Beneath the pain Beneath the rain Goodnight kiss for a child in time Swaying blade my lullaby On the shore we sat and hoped Under the same pale moon Whose guiding light chose you Chose you all I?m afraid, so afraid, of being raped Again and again and again I know I will die alone, but loved You live long enough to hear the sound of guns Long enough to find yourself screaming every night And if you want Live long enough to see your friends betray you Years have I been strapped unto this altar Now I only have three minutes and counting I just wish the tide would catch me first And give me a death I always longed for Second robber to the right of Christ Cut in half - infacticide The world will rejoice today As the crows feast on the rotting poet Everyone must bury their own No pack to bury the heart of stone Now he's home in Hell, serves him well Slain by the bell, tolling for his farewell The morning dawned upon this altar Remains of the dark passion play Performed by his friends without shame Spitting on his grave as they came Get away, run away, fly away Lead me astray, to dreamer?s hideaway I cannot cry ?cause the shoulder cries more I cannot die, I, the whore for the cold world Forgive me, I have but two faces One for the world, One for God save me I cannot cry ?cause the shoulder cries more I cannot die, I, a whore for the cold world A whore for the cold world A whore for the cold world Today, in the year of our Lord, 2005 Thomas was called from the cares of the world He stopped crying at the end of each beautiful day The music he wrote had too long been without silence He was found naked and dead With a smile in his face, a pen and 1000 pages of erased text Save me! Be still, my son You're home Oh when did you become so cold? The blade will keep on descending All you need is to feel my love Search for beauty, find your shore Try to save them all, bleed no more You have such ocean's within In the end I will always love you The beginning
Could not tell you the exact duration for writing this piece, but their usual process is for Tuomas to put together a demo version, which then goes to their usual arranger (Pip Williams) who writes the orchestration, does the arranging, and produces the recording of the orchestral and choir parts. On the different track, the rest of the band fills out the demo, I believe they normally record the orchestra after that, and then it all gets mixed together. I could be wrong on the exact sequence, but I believe those are the steps in the NW songwriting process. So probably took a while...
Thank you so much. Nightwish army here and fellow surfer. Have you hurt your rotator cuff? Saw wincing and shoulder grab. Been there. Hope for swift healing.
IIRC there's 5 parts (movements?) to this, and I like to listen to it on TH-cam in a version where they are each noted on the screen (i.e., when each part starts and its name). (And w/ Floor as noted a bazillion times already...). :D
This should be good... NWA UK Eastern division reporting for duty. I think Anette does a pretty good job of this one. Obviously she's no Floor but still... I'm always impressed by Tuomas' compositional abilities, aided by Pip Williams arranging orchestrals of course but nevertheless its Tuomas' work. Floor of course, tales the place of Guy in the Sparkle section and it sounds better for it. But hats off to all concerned in both versions, for producing my top NW piece. It's interesting to note that Marko has a hand in the sound mixing in some live shows. The talking parts are boy soprano Guy Elliott. This is a standalone piece with a nod to Edgar Alan Poe's The Pit and the Pendulum. Yes, Marko was doing vocals. Even better in the live versions. But you should really listen to the demo version where Marko sings all the vocals and they are considerably stronger in parts.
Cant wait for you to react to their song The greatest show on earth (live at Tampere), would love to see if you composer ear can recognize some things in the song somewhere there ;) ;)
Ohh awwwright! Geebz this is a stupid deep song. You'll definitely need to do some research on the background. Great choice. Lots more to come from Nightwish. Also check out live version at Wembley. You might have to do another reaction to that lol. It's even better than this version. AMAZING
![The Complete Story of Destiny! From origins to Shadowkeep [Timeline and Lore explained]](/img/n.gif)
I just watched the live version with Floor and it was unreal 🙏 thank you all for letting me know about it. AWWWRIGHT!!
Typically Nightwish, this only really comes to life live. Floor and Marco kill the vocals and the whole band serves the song incredibly well.
Awesome they're both incredible glad you got to experience both 😊
Cheers Geebz! That descending chromatic in the first verse is the same in essence for both versions, but that organic unadulterated harmony with Floor’s instrument and the rest of the band gives me chills that I don’t get from the studio version. Her instrument quality and ability really opens a lot of possibilities for the band in both dynamics and arrangement.
Yeah, I'd say the live version is better, but I haven't ever heard this one before. Please react to some more Be'lakor.
Yep - Floor's version - that's music - that's storytelling on the highest level. You feel the story in mind and soul. Anette were good, snd and Marko has also done a version - but none of them are even close to Floor's
Full disclosure: Classically trained bassoonist here, as well as saxophonist and guitarist here. I agree that it is hard for those so musically inclined to turn off the scientific, analytical part of a musician's brain and just listen without wanting to figure out what was done by who and where, and the intricacies. But once you're able to shut that down, it's a wonderful listen, especially when you realize that you can get caught up in the STORY being told in the song, which if you're an English Literature nut, is another entirely amazing rabbit hole to go down.. The references to Stephen King, the Raven, the Last Supper, the crucifixion of Jesus, and inserting yourself into Edgar Allen Poe's The Pit and the Pendulum, while telling the story of how the "old you" died, while the "new you" is beginning.. that takes some serious compositional chops. I'd love to play every part from the instruments I can play on this.. no part would be spared!
but to answer a couple of questions for you: just the mixing alone of this album took over 75 days, because of how much was added to this. For the orchestral parts, the London Session Orchestra was brought in, led by Pip Williams.. the same conductor who composed and led the orchestra on the Star Wars soundtracks. Also brought in were the London Metro Voices Choir.. and to top that off, both the choir and orchestra were recorded at Abbey Road over the period of 8 days, so you know no expense was withheld for this. This came out so well that Nightwish has the London Philharmonic on permanent retainer for all of their albums going forward.
About the vocals: as everyone already mentioned, on the album track, the female vocals were sung by Anette Olzon, who was their second singer. Marko Hietala provided all of the male vocals on this album.
Live. Nightwish has never played with a live orchestra. I would pay good money to see them do that, however! The venue would have to be big: the orchestra used had 66 musicians, another 32 members of the choir, and 12 gospel singers, so to add them onto the stage with still enough room for the band would be HUGE. That's why it's okay for them to use backing tracks, because that symphonic feel is a huge part of their show and who and what the band is.
Finally, have a listen to this again, and recall your last reading of the Pit and the Pendulum, especially how the subject is recalling his life as the pendulum is swinging lower and lower. When you get to the whispered voice saying "Now I only have 3 minutes and counting", either note the time in the track when that is said, or start a timer. Exactly 3 minutes from that part, you hear the blade strike, killing the Poet. When was the last time you heard someone compose their own death DOWN TO THE EXACT SECOND, including his own eulogy?
That... is the amazing composition of Tuomas Holopainen.
Pip Williams is not the same as John Williams, the guy who composed and orchestrated most of the Star Wars sound tracks.
Wow thanks for this great info! 👍🤘
That part about the “3 minutes timing”: they replicate it in live shows too :o
@@TheJulianFletcher : That comes from playing over a backing track. Timing is exactly the same every time.
And with symphonic orchestra blended in you just have to have that track.
@@colemantrebor6574Yeah, what in the world?
The studio version is great, and Annette certainly does a fine job vocally, but the live version at Wembley with the dynamism of Floor's vocals is the gold standard.
I enjoy both but the studio version has more plays on my Spotify. This album and Imaginarium are some of the best albums I've ever heard from front to back no bad tracks. I like to hear albums as they were intended. (I love the floor albums and can't wait for more don't get me wrong). Floor does the songs amazing live and are worth a listen but all I see in comments is to watch the live watch the live. Kind of snubbing the album and anettes fine work
@@qsxmirage7274 I agree that the album versions of the first two singers get snubbed too often. But in regard to your comment about enjoying it as intended:
Who’s to say that the live version doesn’t have any fidelity to what the song was in it’s original conception. I mean if they do have a different arrangement live then you have to give some credence to that decision. If the song writer gets second chance to recreate with some variations then that variation has to be fairly definitive in it’s own right.
Try again with the live version please, it's so much more!!! 😩
sorry but studio just doesnt convey what the Live with Floor does
Who's to say the music isn't intented to be listened exactly live...
There's a reason why Tuomas is known as the Mozart of metal.
I'm glad you did the album version because it gives you the best feel for the depth of the composition. All those orchestral sounds here and there that can't be distinguished live, you can hear in the studio version and they matter. Small details really really matter when it comes to songwriting.
with Annette it's a song, but with Floor it's an emotional rollercoaster, you can feel it to the bone. you should always look up their live performances, they are 1000 times better with an audience
Nailed it 😀
1000 % agree. I've said this in other post Nightwish is one of those rare bands that I actually prefer to hear live.
"with Annette it's a song" no! with Annette it is an absolute masterpiece, which alone is worth the price of the CD. And Annette did a job that was absolutely up to par. Then certainly Floor took it to another technical and even more emotional level. I agree that live is better :-)
Floor's live version will reach into your chest and tear your heart out. On top of that, at the end of the three minutes, you get the Tuomas gesture that says it all.
Great reaction, I love your videos! You asked if this is based on any pre-existing works and the answer to that is mostly not. It's true that he invoked the imagery present in Edgar Allan Poe's work "The Pit and the Pendulum", but this song was created as an outlet for all his emotions in regards to the departure of his childhood friend Tarja from the band, how the general public turned against him and how he was mourning the whole situation as if it were a major death. He was even driven to the point of having suicidal thoughts, and used this song as a means to artificially kill himself, so he could experience relief. "I only have three minutes and counting, I just wish the tide would catch me first and give me a death I'd always longed for"
Powerful song, made in the aftermath of the firing of their first singer, Tarja. Many in the public blamed Tuomas. He was unable to grieve because his friends were hurting more (I cannot cry, for the shoulder cries more). Drove him to the point of contemplating suicide....fortunately, he just did it in song. The higher singing in this one is a boy's choir, Annette didn't have this range. The live version with Floor Jansen is epic though. Definitely check it out....the whole stage presence during the song is one not to be missed!
It wasn't the public blaming Toumas, was the fans throwing shit to the band because they fired Tarja. The shit went to Tuomas and Annette.
Who's singing in Mother & Father? Doesn't sound like the choir boy.
as far as I know the start of the live version (White Lands of Empathica) was also the recording from that boy singing. During the Pacific though she does replace the vocals of the boy and that's where you can see (again) how amazing Floor is.
@@MoMoMyPup10 I'm pretty sure that's Anette.
@@klaymor73 I dunno, from what I understand is that Nightwish are seen as a sort of national pride so at least in Finland this was a public outrage. It's amazing though to see that in this song he explains that he felt terrible about doing it, but it had to be done at the same time. It resonates with me because I've had to make a few decisions like that in my life. I'm sure many other people can relate to that.
🤘🇫🇮 Nightwish army Finland 🐻❄️ No matter which version you listen, it's the composers child, from his experiences and from depth of Tuomas imagination and brain.
I'm glad you took this one. Mainly because the live version would have distracted you even further from the following and the composition itself. It was filmed with captivating talent and seeing Floor and others stage performance would have made your valuation more difficult.
Stay healthy and safe...
Certainly one of Annette's best performances on this studio version but the best live versions with Floor are unreal.
Fun fact, the album was recorded with 66 members of the London Philharmonic Orchestra, 32 singers from The Metro Voices and twelve gospel singers. The final mix took 75 days
The London Session Orchestra! 👍😊
Check out the live version from Wembley 2015 with Floor Jansen .
Annette Olzon, the second singer and replacement to Tarja is on vocals on the album track. Some of the dynamics were adjusted for her voice. A fuller/richer version would be with Floor Jansen live, and there is a much darker version with Marco (Bass player/male vocals) on vocals. The backing track is done by the London Philharmonic, with Floor's version there is not the doubling of voice in the second, chorus, and final section. The literary aspect is based from E.A. Poe. Pit and the Pendulum. I could write a book about this song, but that will give you the basics... the third section... Dark Passion Play, was originally a piece written for Tarja, that was placed in here as part of his dealing with his depression after the break up of Tarja from Nightwish. The final section is quotes from his parents, from the conversations Tuomas had that helped him get through the very nasty breakup. (Yeah it got stupid) I'd take a listen to the live version off screen just to see the differences in dynamics with the same music. The composition was done in three parts... First with Tuomas doing the base writing... about 3 to 6 months according to interviews. Then he sent it to Marco for additional input and first round editing. Another 3 to 6 months. Then to Philharmonic, where the orchestral arrangements were done, another 2 months. Again all according to interviews with Tuomas.
The live versions of all their songs are always simplified with vocal layers removed as well as guitar layers etc...it's what you do when you are restricted by the live setting and your a band that prefers to play honestly. I love the live version with Floor particularly due to the interactions they have with each other on stage but this is the definitive version for me and always will be. Nine times out of ten I prefer NIghtwish live but this song I prefer the album version as it needs all its musical extras and mixing etc.
@@mnewm21 In most case yes, that is very true... Nightwish is a different beast all together though. If you find one of the behind the scenes concert videos, I suggest you give it a look. All their music has all their backing tracks for live performances since they can't afford to have a full orchestra backing them on tour. The entire set is programed out for that set. One of the reasons they had Annette backed and doubled is because she doesn't have the dynamic sustain or fullness of voice in the track or live. Not saying she isn't a good singer, but she doesn't have the vocal range or depth of either Tarja or Floor. In the live versions the backing voice is the same voice that does the opening operatic child voice and child's voice over on the backing track and in their in-ears. In Floors version, the backing and doubling has been removed from that section and is only on the opening and voice over. Having seen Nightwish live, with Tarja, I much prefer the live versions to the studio tracks.
@@terywoodsr.8690 I agree with you on all the click track and orchestrals and chorals but Tuomas said in an interview that they always change the "band" parts of the songs for the live as they play honest music and that means they don't have the extra overlays of the band instruments nor do they use the extra overlays of the band vocalists. This was the problem with Annette live as she didn't have the vocal strength night after night to sing the songs to a level I was happy with and why I love Floor's live versions, but this song is way better on the album musically and for me the one I listen to for this reason.
@@mnewm21 Yes, I know... Tuomas wants the fans to know it is THEM playing and not lip syncing. They must have an awesome production crew. I guess it is the difference of the musical form. Having been in an orchestra, I prefer live living music rather than canned or studio music. But too each their own. It might be that I heard them live first, but I've always rather a live version where you can feel the music, over the technically correct studio mixed music, especially with the over use of auto-tune, dubbing, and splicing going on in what some people call music.
@@terywoodsr.8690 yep all you say makes sense but this song is one that I heard it heaps of times on album first that when I hear it live all the interesting musical parts are missing! Most of their songs live are better as I tend to feel Tuomas tends to over produce the songs on thee albums and I am not necessarily a fan of the layered guitars and vocals but for me in this song it all worked so perfectly on the album that I find the live lacking. Except for Floor's vocals but that is not the only reason I enjoy Nightwish that is just the cream on the top I have come to enjoy over the last 10 years. Living in Aus I am waiting impatiently for them to head back down under so I can hear them live again
I believe Tuomas drew from the story of The Pit and the Pendulum by Edgar Allan Poe for some of the imagery in this. The overall theme does have a huge back story but grief and betrayal feature largely. That great bass line you were enjoying when Marko is singing, he plays that while singing live and just doesn't glance at his hands which blows my mind. Love how much you appreciate this composition.
He drew from a lot of references here: you're right about The Pit and the Pendulum. He also drew from The Dark Tower, which is a series written by Stephen King. In there was also references to the Last Supper, the crucifixion of Jesus, and his parents. In the live performance, he also incorporated pieces of another of Poe's work, The Raven.
Have you ever thought of reaching out to Tuomas and see if an interview would be possible. I would be extremely interested in seeing a composer discuss that side of Nigthwish with Tuomas. Another possibility would be to interview Pip Williams which is the co-arranger with Tuomas when working with the orchestra.
That would be very interesting to see.
Great stuff Geebz, congrats on the 200k!
As killer as the studio production is on this, I actually think the live version has a better blend of the heavy and orchestral. There are a couple nuances that aren’t included in the live version, but the blend hits so much richer. Both sonically in terms of mix as well as compositionally. I know you listen to vocals as an instrument (whole heartedly agree). The live version has that instrument much more present in the cohesiveness of the blend.
I highly, highly recommend you check out the live version. Like I mean that as a human to human, not as a subscriber to a content creator.
th-cam.com/video/N4Vfy5yCy-c/w-d-xo.html
Very cool never heard of them. I am not a fan of orchestra/metal mix but I can definitely appreciate the amount of talent and teamwork must go in to creating such a beautiful production. I love reading the comments from the "die hards" on each group. That gives me more songs to focus on from some of these amazing artists. So glad I stumbled upon this journey!
I was bought up with classical music so often find the "symphonic" part really lacking. Tuomas Holopainen however is a fabulous composer and a genius at placing sounds in a composition in ways you would never expect. I can think of nobody else who could pull off steel drums in a metal song.
Enjoy the Floorgasms
Please check out the Wembley performance of this with Floor as well. It's incredible!
Wembley Arena version is at least as better than the brilliant album version ;-}
Just watching your reaction to this was awesome! There's much going on with this song and your facial expressions and inability to sit still were a clear indicator of your feelings and the need or want to respond and exclaim! Dude, you're one of us now :D Love your input as a composer. Every Nightwish song is a thrill ride! I see you found the live 'Floor' version....I was going to recommend it too!!!
this song and version was my entrance into Nightwish, While I like this version Floor is just stunning. She was meant to sing the song her range and power di it a justice Annette lacks.
An old “on paper” and drop the needle composer here, too… this track is out of this world, I’d love to comb over the score as well! The cross-genre instrumentation, layering, dynamics, etc… this is a full package and I’m a little embarrassed to have just first heard.Thank you.😉👍
If that's the case, there is more good news: Nightwish has even better tracks for dedicated composers.
@Bubba, welcome to the wonderful world of Nightwish. Please explore their catalog of music. Go for pretty much anything live from, End Of An Era, Wacken, Wembley or Buenos Aires.
From End Of An Era I highly recommend their rendition of Phantom of the Opera and their tribute of High Hopes by Pink Floyd.
I think you would really enjoy Ghost Love Score as well.
If you want, look up pretty much any Ghost Love Score reaction video and look for a comment by Gabriel. His comment will give a brief history of the band and links to some of the high lights of Nightwish's catalog.
@@horseshoe_nc, excellent! Thank you.
@@Bubba-zu6yr you're welcome. I hope you enjoy your journey into the music of Nightwish. Most of the composition is done by the keyboardist, Tuomas Holopainen. Many people call him the Mozart of metal.
Reporting for duty from Nova Scotia. You've still got such a great Nightwish journey ahead of you Geebz. As masterful as the engineering is on the album versions, with Nightwish you almost always want to pick a Live version. I can't wait to see which one you pick next time you make it to Nightwish. The last of the big multi-act epics is "Greatest Show on Earth". That one's even longer, but I think you'll get a lot out of it. (Pick Tampere live. It'll blow your mind.)
Most reactions to this are very focused on the lyrics, it's really nice to get a more music-focused insight!
Agreed! And for a music-focused reaction the studio version is definitely, IMO, the better choice since you can hear all the layers and the orchestration in so much better balance.
Great reaction! Your observations are really interesting and thank you for sharing them with us. I'm pleased to see that you have now watched Floor perform this live, I find it so powerful and yet tender at the close.
The version with Floor is just way better, but this is still great. They really did a good job fitting Anette's range into the song on the album.
hands down one of the greatest cinematic compositions ever created.
been a fan of nightwish since my early childhood and when this album came out, aw man. the nostalgia doesn't cloud how great this still is.
This is their middle singer, Annette. This is one of those songs that the Nightwish diehards will say it should be listened to after you have listened to a few other songs as it has a pretty strong history in the band, but I think this song is worthy of an earlier listen just for the composition of it.
Really great reaction again 💪 Love that you also had a listen to the live version with Floor.
This song really gets me every time…. So much emotion in it
Everytime i get this song on my playlist i ready myself, cause this song is a whole journey!
Thank you for checking out the studio version! Of course the live is fantastic but no one ever listens to Annette
Take a chance at Diablo Swing Orchestra, you can start out with "A tap dancers dilemma". But you'll get a unique musical experience, but perhaps not so much of a complexity of musical composition, nonetheless amazing band. Their newest album is amazing too
Oh man, I used to love that band. But after the singer left, I just couldn't get into her replacement. I gave their new album a try, but it was unlistenable to me. Just weird shit for the sake of being weird. The song sung in spanish by a non-spanish singer? Why?!
My brain kinda forgot how to appreciate that type of weird shit. I listen to their first 3 albums from time to time, but the familiarity trumps over the weirdity. I just can't appreciate new music like that.
awwriighhtt! So hyped when I heard your clue in the last video about a pendulum and a band being big in Europe, Nightwish was literally my first thought and I absolutely adore Nightwish!
Super glad you made this reaction and dissection.
My thanks from Sweden!
Nightwish was my first favorite band growing up, Dark Passion Play is one of the best albums ever! Your reaction was perfect lol, I was super overwhelmed too when I heard this song for the first time, but more like "What am I hearing right now this is amazing".
A masterpiece. Not my favorite version, but others have already stated that.
You are correct, there is a huge, pivotal story behind this song for the band. Worth reading up on. Agree with the comments on the live Wembley performance.
Sounds like final fantasy music. It's like the sound track to a whole game. The long format with it changing so much remind me of Geinoh Yamashirogumi's music from akira. You'd love his work Requiem and illusion from it. It's like japanese orchestral with a church vibe.... if that makes sense. 11:09 a wilhelm scream lmao! Gummy bear... uh huh.
This song ws made to Anette to sing, and she sang it beatufully, Floor sang this OK but that was only a cover of an original.
I'm glad I'm not the only one who really loves Anette's voice here. If you haven't I wholeheartedly recommend The Dark Element, she truly has grown into an _even_ better vocalist, and It's amazing to hear. 🙈 There's something about Anette's voice I just like better. I can recognize Floor as technically the better singer, but I don't know how to word it. Anette has this whimsy and fantastical tone I simply prefer.
The voice in the beginning is a young boy. Later on in the song another young boy sings as well. The orchestra and choirs you hear is the same that was used in the Lord of the Rings movies. I think it's called The London Symphony Orchestra or something like that. The recording of the orchestra may have been recorded in Abbey Road studios- not sure about that though.
It's the London Philharmonic. And yes, it is indeed the same orchestra heard in LOTR. They are practically on retainer for Tuomas whenever he needs them. Dude has a lot of respect in the Orchestral world, and deservedly so!
Erik Randan That's cool! I think a lot of bands who are going to use an orchestra and a choir in their music can learn a lot from Nightwish's albums, especially from this song.
@@kristianm.6946 most definitely! I don't like using the term genius, but Holopainen is definitely a musical genius. I remember reading a comment from the guy who does the orchestral arrangements for Nightwish where he said that it's probably the easiest arrangement jobs he gets because Tuomas pretty much already has it done when he brings them the tracks lol
@@erikrandan7294 NWA calls him Metal Mozart... quite deservedly
I could see that you really felt the music. And I enjoyed watching it. Greetings from Finland :)
There is a demo version of this where Marko sings the whole song which is much darker but still amazing. Glad you are focusing on the music and the composition which is phenomenal as too many people focus too much on the backstory. Its obviously important to understand the story so you can understand why it was written as it was, but I like that you are reacting to the music and its great to hear your thoughts on the arrangements etc. You can absorb the back story yourself. :)
It's interesting that in the demo version with Marko, "the year 2005" is "the year 2007". th-cam.com/video/FFub8fOiwqE/w-d-xo.html
Floor Jansen's live version blows this out of the water 10 fold Floor's vocal performance compared to this is in a different universe AS STATED IT IS LIVE TOO. FLOOR FAR FAR MORE POWER, ENERGY, EMOTION AND SKILL
One of the things to note is that when Tuomas wrote this song, Nightwish did not have a singer. None of this album was written with Anette's range in mind as she was yet to join the band. When we listen to this song on the album, we hear boy sopranos and a choir. At least some of the reason for them was to fill in the places that Anette couldn't reach. Floor can reach these high notes and offered to sing all of these passages. Tuomas opted to keep the first passage and the spoken segments with the boy sopranos to retain the sense of innocence.
Floor also adds her own flourishes that don't exist in this version, so that when we listen to this version after hearing Floor's, it's like there are little bits missing here and there.
One of the most noteworthy differences between a Floor version vs. the original performed by either Anette or Tarja, is how much less prominent the choirs on the backing track have become. With Marko having left, Floor is singing the original vocal track, plus the choir tracks and now Marko's tracks as well.
Not sure how Tarja would have ever performed this song, since it's about the aftermath of her being fired.
Also, I may be wrong, but I thought this tour was the last time they ever did this song. So, no, Floor isn't singing all the tracks. If I'm wrong about that, please let me know.
They had back-up plan were Marco would be singer if they can't find new singer.
It's been awhile since I've listened to album version. Forgot how good it was!
The great part of the studio version that the instruments are much clearer than the live version. The live version is indeed superior thanks to Floor, but also Markko's delivery of his lines is much better.
Once the full context of the song is known, this song is incredibly powerful
Tuomas composed the music, The London Philharmonic Orchestra with composer and conductor Pip Williams added the orchestral parts with Tuomas' guidance.
There is a third version of this masterpiece that is often overlooked, The original version was sung almost entirely by Marko. Some slight lyric differences but more pain also.
There's a great documentary series that Nightwish released in the run up to releasing their last album, Endless Forms Most Beautiful. It's available on TH-cam and definitely worth a watch if you'd like some insight into their recording/arranging process. Great reaction, been waiting for this one for a while . Thank you for brightening my morning!
The best Nightwish reaction I have seen. As 'Just a listener', I've often wondered if those with musical education and background can still just enjoy music for what it is without over analyzing. Thank you for bringing that up and showing some of your frustrations with that.
I think it's time for more Nightwish!
Glad you enjoyed it!
DUUUUD!!!
Since you checked out the live version why in the heck you didn't do a reaction video of it??? 😮
Coz I kinda know you appreciate great live performances aside any well composed music from your point of view... 😉
And you Know how high the production value is on any Nightwish gig.
Would like to see your reaction on that particular Wembley live of "The Poet and the Pendulum"... Even though you already have watched it...
Just a suggestion män. Anyways...
Cheers from Finland 🇫🇮, the Mother Land of Nightwish 🤟🥶
Nightwish Army New Zealand Chapter haha.
Also Opeth, Jinjer, Spirtitbox, Epica, Radiohead and Tool army - and a few more.
Kind of glad you did this version as Floor doing this song really hits me in the feels a little too much. Glad you did watch her do it live as per the comments though. But too much for me tonight.
i cannot hear this without loosing at least a single tear ... damn ... they know how to grab your soul with their musik
Fun part is that the blade slices exactly 3minutes after that dramatic voice said earlier "now i have 3 minutes"
There is some really interesting behind the scenes type of videos on TH-cam where you can see how the band works in studio - and how they work with London Philharmonic and the choirs in London (Angel Studios I think?). So if you would like to dig deeper in that rabbit hole, I recommend to check that stuff, it's fun to see how the music comes to life!
Yes! That was an oboe! i think the other comments covered everything else. Side note, how about that cimbasso part?
Thanks for what you do with the channel you provided us many hours of entertainment cheers 🥂
This a great song written by, at that time, a tortured soul.. I hits u in the heart when lyrics like these resonates in ur soul. Great reaction, as always. Gd luck with ur surgery. Stay well my old friend
One of those rare bands that sound even better live than in the studio. Watch the live version from Wembley
100%. The nature of symphonic really has a much richer effect in their live recordings. As much as I love (all eras of) Nightwish, I feel like sometimes there are one too many bells or whistles used on the studio versions (figuratively, but also literally lol). When they perform live, it seems like the alter the arrangement slightly and it often means that gap is picked up by someone on stage and it just hits soooo much harder, much richer sonic experience.
You should definitely do a deep dive on Nightwish! Definitely the kind of band with seemingly endless musical territory to traverse like Opeth or Mastodon. Also probably my favorite. Definitely the lineup with Marco, Floor, and Kai, most of my faves in one band. Marco was a severely underrated power source in their music.
I don't know what the other soldiers have recommended, but my list for a slow burn review would probably be:
Dead to the World
Ever Dream
Creek Mary's Blood
Planet Hell
The Siren
Master Passion Greed
The Islander
Ghost River
Fantasmic
Pharaoh Sails to Orion
Astral Romance
The Greatest Show on Earth (probably their most important/impressive song to date)
Rest Calm
Turn Loose the Mermaids
Last Ride of the Day
And any songs on side A of their most recent full length, Human :II: Nature (I really like Music, Noise, Pan, Endlessness and Tribal myself).
Hopefully enough of my faves overlap with the songs your other viewers wanna see you review =P
First off, I hope the shoulder is fine... I see you massaging it throughout the video.
Floor version (live) far superior to this. But you already commented on it...
Now, if this was sung by Tarja. How incredible it would have been. It would have taken the whole band to another level. Anette just doesn't have the power needed to front this band. She is a fine vocalist on her own right, this is just too overwhelming for her... And eventually the reason why it didn't work out too well with Anette. Basically they were locked out of a lot of the Tarja songs as Anette just could not do them. And some of those attempts just failed miserably... It is sad that it took the Tarja firing to get Tuomas to this place and to really push the limits with the music. Tuomas was in love with Tarja, at least musically if not completely romantically, she was his muse and inspiration to write the songs. And this song is about how dead Tuomas felt after they did what they did after "end of an era" concert.
The easy way to show the difference between Annette and Floor. Listen to the original Annette. Watch the live version with Floor . THEN listen to the Annette version again...
This version is actually great. The live version with Floor is...
You asked about the details of composing and orchestrating this piece. Here is a small behind the scenes clip of the recording the orchestral track for The Poet and the pendulum from Abbey Road Studios th-cam.com/video/LAQRTCLbFOo/w-d-xo.html
Fun Fact: The Song was the most hardest for Tuomas to write and is highlighting the issues that he had preparing the early album ideas. Mostly because he fall into deep depression after they had to kick out their original singer Tarja Turunen. Originally the composition was 26 minutes long. But after many rewriting he shortened it down to "just" 13 minutes.
This was my first time listening to this song. I don't think I've ever experienced as many, or as strong emotions listening to a song before. I definitely think I have a new band obsession for awhile
This is the song that first got me into Nightwish! I love Floor so much, but this album is still probably my favorite and because of that, Annette holds a special place in my heart.
17:50 That was a great timing for a reaction! :)
I didn't know about this! Orchestral Rock is my favorite! It's why I request The Dear Hunter so much, haha.
Between first and second speech there are 3 minutes ("3 minutes and counting"). For this album, the vocalist was Annette Olzon (First was Tarja, then was Annette and now is Floor). Great analysis and coments.
Nightwish makes me feel like I'm Conan the Barbarian, running across the plains, with the open sky above...the wind in my hair. CRUUUUUUUM!
It makes me feel like I'm raiding the pantry for every piece of food I can find... Then I see it on the floor. A CRUUUUUUUUMB!
So, Annette gets a lot of.... dislike (lol) from the fandom, but I honestly believe that her being less operatic FORCED the rest of the band to compensate and refine their sound. Modern Nightwish is not JUST Floor, but the whole band, playing and composing. Look at the work they did with Tarja. The only album that is even close is Once, but that is still a far cry from any song on this album. And you can see this evolution through Imaginarium and into Endless Forms. Not saying Annette is not the weakest (also not agreeing that is a reason to dismiss her) but only by being forced to grow themselves did they become the band they are now
Heared the live version a few dozen times, never heared the studio version... but sounds really great too.
I love listening to your technical breakdown of these songs . Please react to Floors version at Wembley 🔥
Oh and love the green glow that ,at first glance, looks like it is coming from inside the coffee cup! Nuclear coffee!!
I wanted to let you know about the song, but the i realized the NIGHTWISH ARMY is present! So everything I wanted to inform you on....has already been said :)
Best fancore on the planet!
yeah, copyright, monetizing etc, in know, but :never ever never ever hear an Studio version from NW, when you get Hands on Live performance ;) good, that you catched up an Live Version afterwards, it does the Song much more credit. stay save.
glad you did Floor's performance, just a tad bit of difference.....lol
One of my favorite albums ever. Wish people would stop obsessing over the vocalists and let it stand on its own.
Hope your shoulder recovers soon.
Never actually listened to Anette's version of this song. But now I have. As a composer I guess it is more about the composition and not the execution. On stage Tuomas had Floor's voice removed from his in-ear-monitor, because her execution is so emotional. I suggest you listen to Floor at Wembley as well
It is based on the book The Pit and the Pendulum by Edgar Alen Poe ( a prisoner of the Spanish inquisition that is accepting that death is inevitable)
The song was written when Tuomas got into a deep depression when he had to fire the previous singer. He did not handle that in a sensitive way by using an open letter. He lost his innocence, his muse, his friend, the entire repertoire of the band (because no-one could sing like Tarja). At the same time he got fried by the media and Tarja's fans, even the Finnish president had something to say about it.
I would really love you reacting to Shoemaker, also by Nightwish with Tuomas as composer. Ik think you will love it.
Maybe dig up little info on Eugene Shoemaker before your reaction. Doesnt have to be much, but it will add a little to understanding what is happening in the song and the composition.
Well....we sure hear the pendulum in the studio version. Would have liked to see the Wembley video reacted to as well. Have missed you reacting to Nightwish.
Appreciate your total focus. On this, and every reaction. Must admit that it makes sense to react to the studio version, as much as it pains me. Floors' version is immensely superior. In my humble opinion of course. This highlights Tuomas' compositional mastery. Thank you for reacting to this, even is it's in this version. Cheers, and thank you again.Ps: I love your darting eyes, indicating thinking and feeling. Priceless. Thank you once again, sir.
Amazing choice Geebz! Please do the reaction of this: The Contortionist - The Parable (Rediscovered)
OOOHHHH!!!! Epic Dragon Slaying Music!! AWWWRIGHT!!! I heard Jason Richardson Slayed 2 dragons at the same time with his guitar riffs while Luke Holland used Drum distraction tactics on the Ho's Down track!! 🤙😁✌🎶
Nightwish Army from Brazil!!!
Also another great Nightwish song to react to, would Master, Passion, Greed, as it is a very different song for Nigthwish, but would really be interesting to see you analyze the orchestral arrangements.
th-cam.com/video/hBTRq2Kgt3Q/w-d-xo.html
Congrats on 200k.
as you may now know this is the second lead singer Annette Olzon some not everyone say does better in studio than live
Lyrics
The end
The songwriter?s dead
The blade fell upon him
Taking him to the white lands
Of Empathica,
Of Innocence
Empathica
Innocence
The dreamer and the wine
Poet without a rhyme
A widowed writer, torn apart by chains of Hell
One last perfect verse
Yet still the same old song
Oh Christ, how I hate what I have become
Take me home
Get away, run away, fly away
Lead me astray, to dreamer?s hideaway
I cannot cry ?cause the shoulder cries more
I cannot die, I, the whore for the cold world
Forgive me, I have but two faces
One for the world,
One for God save me
I cannot cry ?cause the shoulder cries more
I cannot die, I, a whore for the cold world
My home was there and then
These meadows of heaven
Adventure-filled days
One with every smiling face
Please, no more words
Thoughts from a severed head
No more praise
Tell me once my heart goes right
Take me home
Get away, run away, fly away
Lead me astray, to dreamer?s hideaway
I cannot cry ?cause the shoulder cries more
I cannot die, I, the whore for the cold world
Forgive me, I have but two faces
One for the world,
One for God save me
I cannot cry ?cause the shoulder cries more
I cannot die, I, a whore for the cold world
Whore for the cold world
Whore for the cold world
Sparkle my scenery
With turquoise waterfall
With beauty underneath
The Ever Free
Tuck me in
Beneath the blue
Beneath the pain
Beneath the rain
Goodnight kiss for a child in time
Swaying blade my lullaby
On the shore we sat and hoped
Under the same pale moon
Whose guiding light chose you
Chose you all
I?m afraid, so afraid, of being raped
Again and again and again
I know I will die alone, but loved
You live long enough to hear the sound of guns
Long enough to find yourself screaming every night
And if you want
Live long enough to see your friends betray you
Years have I been strapped unto this altar
Now I only have three minutes and counting
I just wish the tide would catch me first
And give me a death
I always longed for
Second robber to the right of Christ
Cut in half - infacticide
The world will rejoice today
As the crows feast on the rotting poet
Everyone must bury their own
No pack to bury the heart of stone
Now he's home in Hell, serves him well
Slain by the bell, tolling for his farewell
The morning dawned upon this altar
Remains of the dark passion play
Performed by his friends without shame
Spitting on his grave as they came
Get away, run away, fly away
Lead me astray, to dreamer?s hideaway
I cannot cry ?cause the shoulder cries more
I cannot die, I, the whore for the cold world
Forgive me, I have but two faces
One for the world,
One for God save me
I cannot cry ?cause the shoulder cries more
I cannot die, I, a whore for the cold world
A whore for the cold world
A whore for the cold world
Today, in the year of our Lord, 2005
Thomas was called from the cares of the world
He stopped crying at the end of each beautiful day
The music he wrote had too long been without silence
He was found naked and dead
With a smile in his face, a pen and 1000 pages of erased text
Save me!
Be still, my son
You're home
Oh when did you become so cold?
The blade will keep on descending
All you need is to feel my love
Search for beauty, find your shore
Try to save them all, bleed no more
You have such ocean's within
In the end
I will always love you
The beginning
Could not tell you the exact duration for writing this piece, but their usual process is for Tuomas to put together a demo version, which then goes to their usual arranger (Pip Williams) who writes the orchestration, does the arranging, and produces the recording of the orchestral and choir parts. On the different track, the rest of the band fills out the demo, I believe they normally record the orchestra after that, and then it all gets mixed together. I could be wrong on the exact sequence, but I believe those are the steps in the NW songwriting process. So probably took a while...
Thank you so much. Nightwish army here and fellow surfer. Have you hurt your rotator cuff? Saw wincing and shoulder grab. Been there. Hope for swift healing.
React to the live version, at wembley, with Floor, blows your mind.
IIRC there's 5 parts (movements?) to this, and I like to listen to it on TH-cam in a version where they are each noted on the screen (i.e., when each part starts and its name). (And w/ Floor as noted a bazillion times already...). :D
oh gosh how I love this song!
This should be good...
NWA UK Eastern division reporting for duty.
I think Anette does a pretty good job of this one. Obviously she's no Floor but still...
I'm always impressed by Tuomas' compositional abilities, aided by Pip Williams arranging orchestrals of course but nevertheless its Tuomas' work.
Floor of course, tales the place of Guy in the Sparkle section and it sounds better for it.
But hats off to all concerned in both versions, for producing my top NW piece.
It's interesting to note that Marko has a hand in the sound mixing in some live shows.
The talking parts are boy soprano Guy Elliott. This is a standalone piece with a nod to Edgar Alan Poe's The Pit and the Pendulum.
Yes, Marko was doing vocals. Even better in the live versions.
But you should really listen to the demo version where Marko sings all the vocals and they are considerably stronger in parts.
Love this! You need to do Vallhalleua by Nanowar Of Steel. It's one of my favorite holiday songs
Everyone rags on Anette, but she is an incredible singer.
Cant wait for you to react to their song The greatest show on earth (live at Tampere), would love to see if you composer ear can recognize some things in the song somewhere there ;) ;)
Such an epic song.
You should definitely check out band Therion (songs Via Nocturna or Adulruna Rediviva). They are pioneers of Symphonic Metal!
Ohh awwwright! Geebz this is a stupid deep song. You'll definitely need to do some research on the background. Great choice. Lots more to come from Nightwish. Also check out live version at Wembley. You might have to do another reaction to that lol. It's even better than this version. AMAZING
Yes, that live version is amazing. You can see the emotional weight Thoumas carries with this song.
Geebz cannot cry ‘cause his shoulder cries more.
Lmao. Solid pun right there.