NIGHTWISH — Oceanborn (review)

Album · 1998 · Power Metal

3/5 · 2021-05-24
lukretion

Only one year after having released their debut album Angels Fall First, Nightwish made a comeback with their second full-length, Oceanborn. Apart from the addition of bassplayer Sami Vänskä, the lineup is the same as on the debut LP, with Tuomas Holopainen on keyboards, Emppu Vuorinen on bass and guitars, Jukka Nevalainen on drums and Tarja Turunen on vocals. But Oceanborn is a very different beast relative to the endearing but still raw debut album. Nightwish have now found their footing and have started to unlock the potential that they had only hinted at on the previous record.

Oceanborn has a much clearer sonic identity than Angels Fall First. While that album was suspended between folk metal, power metal and symphonic and operatic ambitions, Oceanborn embarks more decidedly the path of symphonic power metal with operatic vocals. Relative to the debut album, the folk influences are toned down considerably (they only surface on the instrumental “Moondance”). There are fewer mid-tempos and acoustic interludes and far more bombastic uptempos that are a feast of powerful guitar riffs, tight drum grooves and swirling keyboard interjections. While this may bring Nightwish’s sound closer to other European power metal bands (Stratovarius, Rhapsody), the overall result is an album that feels more well-defined and more assured of its direction and identity, which is a substantial improvement over the debut.

There also signs of maturity in Tarja’s vocal performance. Her melodies are better than most of what she sang on Angels Fall First and her tone and expressivity have also improved. She sounds more in control of her voice, which remains splendid. Thankfully, Tuomas Holopainen this time decided to refrain from providing a male counterpart to Tarja’s vocals. His performance on Angels Fall First was terrible and he wisely decided to let all vocal duties to Tarja on this album. There are two songs (“Devil & the Deep Dark Ocean” and “The Pharaoh Sails to Orion”) that contain male vocals by Tapio Wilska (Finntroll). His performance is halfway between narration and singing and, oddly, it reminds me of some of the narrated parts one can find on Cradle of Filth’s albums.

The album is also a step-up in terms of production value. Oceanborn’s sound is smoother and more balanced than the debut album. The rough edges of that album (hyper-distorted guitar sound that dominated the keyboards; drums slightly too upfront in the mix) have been smoothened and the mix and mastering of the duo Mikko Karmila/Mika Jussila is truly excellent.

Despite the considerable signs of progress, however, it is also clear that Oceanborn is still “work in progress” for Nightwish, and that there is still ample room for further improvement. The main dissatisfaction with the album lies in the inconstant quality of its material. There are only a handful of songs where Nightwish seem to be able to fully realize their immense potential, by writing tunes where everything “clicks” and just falls into the right place. “Passion and The Opera” and the ballads “Swanheart” and “Walking in the Air” are the only three songs that I can really call masterpieces on this album. These songs have it all: great melodies, lean structures, sophisticated arrangements (that beautiful strings quartet on “Swanheart”), and fantastic performances. The rest of the album does not quite reach this level of accomplishment. “Gethsemane” gets closer, thanks to its brooding chorus, but it loses steam towards the middle before inexorably drifting towards a meandering conclusion. “Devil & the Deep Dark Ocean” and “The Pharaoh Sails to Orion” are meant to be ambitious “mini-epics” where Nightwish showcase their “progressive” ambitions, but they feel clunky and drag on far too long, showing that there is still work to do in the songwriting department. Other tracks, such as “Sacrament of Wilderness” and “The Riddler”, are little more than inoffensive fillers that do little more than diluting the overall quality of the tracklist.

Overall, Oceanborn is an album of hits and misses where Nightwish manage to channel their immense talents into perfect compositions only in a handful of tracks. When they do, the outcome is nothing short of breathtaking. The rest of the album leaves the listener with the bittersweet taste of unfulfilled potential, while nevertheless confirming that Nightwish are a band on the rise and a force to be reckoned with in the European metal landscape.

more than 2 years ago
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lukretion wrote:

more than 2 years ago

Ahaha, I know what you mean UMUR. I feel that way too sometimes as I go through the list of albums I still have to listen to! :-)

UMUR wrote:

more than 2 years ago

It´s been ages since I listened to anything from Nightwish (I haven´t heard anything since Tarja left), but I remember this one was my favorite of the Tarja led albums. I´ll have to go through their discography and write reviews someday...so much left to do before I croak...:-)