The legendary Finnish metal act NIGHTWISH is set to release their new album, “Yesterwynde,” via Nuclear Blast Records on September 20th, 2024. As with every release, the band hosted an exclusive pre-listening session for the Finnish press at Finnvox Studios, and we were fortunate enough to attend before setting off to the kick-off of the second edition of Hellsinki Metal Festival.
We gathered at Finnvox Studios at 12:00, and after a few drinks and pleasantries, we were welcomed by the band, their publicist, and producer Mika Jussila, who eventually hit play. We were only allowed one listen to the album, which was a lot to absorb. First impressions? This album is undeniably heavier. While there are plenty of great moments for fans of NIGHTWISH‘s recent material, those who prefer their older sound will find much to appreciate as well.
The album begins with the title track, “Yesterwynde,” which I initially expected to be a full song, but it felt more like an extended intro. It opens with the sound of an old analog movie projector winding up, followed by a church-like choir that creates a vintage atmosphere. Then, Troy‘s pipes and an acoustic guitar join in with the same melody, leading into a full orchestration as Floor starts singing in a deeper register. Her vocal performance leaves no corner unexplored, and it’s an interesting take on her voice since she seldom gets to really explore the deeper ends of it. The cinematic quality of this track is undeniable and the addition of the movie projector’s sound gave it that extra bit of immersion.
Then, “An Ocean of Strange Islands” started playing. It opened with some keys and a choir before bursting into full-blast NIGHTWISH riffs, orchestrations, and powerful choral arrangements. The track had a mysterious, sometimes dark atmosphere—definitely a strong start. This song felt quintessentially NIGHTWISH. The bridge was particularly interesting, playing with accents in a way that only NIGHTWISH can, juxtaposing lighter moments with heavy instrumentation. There was a lovely percussive section that made me jot down, “Kai is so fucking good,” in my notes. At one point, Floor did something very theatrical with her voice, which was reminiscent of those bits in certain songs on “Imaginaerum” and added a refreshing change-up. There was also some epic old-school NIGHTWISH riffing reminiscent of “Dark Chest of Wonders,” which then transitioned into a soothing atmospheric ending with a beautiful pipe melody, evoking the feeling of being swept away by ocean waves. This moment was incredibly relaxing, especially after the rough start to my day—it felt like one of those calming CDs used by massage therapists or yoga instructors. Surprisingly, this was the longest track on the album, clocking in at just over nine minutes.
“The Antikythera Mechanism” opened with a mysterious and eerie atmosphere, almost like the intro to a horror movie. A brief riff set the stage before Troy took the lead in the verses. The chord progressions in the chorus were particularly striking, blending elements reminiscent of “Endless Forms Most Beautiful” and “Human. :II: Nature.” Initially, the song seemed to follow a pretty standard song structure, but it soon surprised me with a more progressive section, featuring a tempo change that at the same time, highlighted the beautiful interplay between the drums and orchestrations. At one point, Floor Jansen was doing a voice-over, but it was either purposefully pushed down in the mix to add a bit more of that eerie atmosphere, or the lush orchestrations overpowered it, yet, this is something I couldn’t fully grasp with only a first spin.
The new single, “The Day Of…” began to play. I have to say, it really wasn’t on my NIGHTWISH bingo card to hear them incorporate disco and ’80s vibes into their songs or to explore AYREON-like synths and themes (the latter happened actually more than once on “Yesterwynde”). But to all the naysayers, I think this is absolutely a great move. Bands should experiment with their sound and push boundaries, even if someone might not enjoy it, how else do they get to move forward? Honestly, I’ve seen some people suggesting that this might be a boring song to experience live. Excuse me? If I hadn’t been in a professional setting, sitting next to Jari Mäenpää of WINTERSUN, with the Finnish NIGHTWISH members and some Nuclear Blast representatives nearby, I would have thrown my chair to the other side of the room out of excitement and started dancing like a maniac. That folky part—chef’s kiss—and seriously, who doesn’t love a good Eurosong modulation towards the end? If I had one tiny criticism, it’s that the English accents of Floor Jansen and the children’s choir don’t quite match (it’s just one of those things that once you hear it, you can’t unhear it).
“Perfume of the Timeless” is a bit of a controversial track. Many, myself included, didn’t quite enjoy how the vocals seemed buried beneath the rich orchestrations. I can tell you why that bothered me: so much of the NIGHTWISH experience relies on the vivid imagery Tuomas Holopainen‘s lyrics conjure. It’s an all-sensory experience, much like Marcel Proust‘s madeleine moment, where a man recalls his past through intense concentration after tasting a madeleine cake dipped in tea—but in this case, it’s through music and words. Take, for example, the track “Sway.” It contains a particularly strong lyrical phrase—“ghost stories in a tent”—that really stood out to me. It’s such a universal image that instantly evoked a moment of nostalgia, and transported me right back to when that happened to me. When that lyrical element is less present, it’s like ordering a regular Coca-Cola and being served Diet Coke instead.
That being said, the studio setting, with its high-quality Genelec speakers, allowed me to catch details that might be lost on regular speakers. I remember Kai Hahto once mentioned that Floor is supposed to be part of the choir, and through these speakers, that became clear. The issue, I think, is that on an average audio system or maybe even due to the compressed nature of songs on streaming services, the choir blends too much with the orchestrations, and without that little oomph, it’s hard to distinguish it as a separate entity altogether.
Despite this, “Perfume of the Timeless” remains a strong song. It holds a special place in my heart, especially considering my grandfather passed away half an hour before the track was released on Spotify, and just one day before the music video dropped. The line in the video “You are the dream of many ancestors” resonates deeply with me and should be a mantra for life for anyone who might be having a tough time or is thinking about giving up. Repeat it after me, “You are the dream of many ancestors.”
Next up was the song I briefly mentioned earlier, “Sway,” which was one of my highlights on the record. I’m usually not one for slower songs or ballads, but there was something undeniably beautiful about this track. If I were to compare it to another NIGHTWISH song, it might lean a bit towards “How’s the Heart.” It began with an acoustic guitar intro, accompanied by some violin and pipes. Then, there were stunning harmonies in the verses between Floor and Troy. I remember Floor mentioning in an interview with the Dutch magazine Aardschok that she wasn’t entirely on board with this approach. However, I found it absolutely touching.
The lyrics of “Sway” were everything, and even now, I can recall the chorus (which is rare after just one listen): “Sway over the mountain tops or over the swaying crops, a perfect day.” I jotted down in my notes, “I fucking hate ballads, but this is a vibe.” Just as I was trying to grasp the essence of the song, Floor sang the earlier mentioned line, “ghost stories in a tent,” and it clicked—that’s precisely what it is: a little heartwarming moment, that made me remember the many times I was out camping with friends as a kid, where we stayed up way beyond bedtime, and told urban legends to each other, each one more impressive than the one before. Something very creepy, but at the same time celebrating a moment of togetherness. Another lyrical phrase that resonated with me was the repetition of the hook “The big reveal awaits us all.”
I also noted that Kai did a cool percussion thing (part 48,943,893—he does a lot of those, and it’s part of why he fits so well as NIGHTWISH’s drummer; the warm drum tone was simply beautiful). After this somewhat minimal, campfire-like section, there was a little folky bit that felt somewhat contrasting at first, but then these two melody lines began to intertwine and become one, creating a beautiful ending.
Just when you might start thinking that, except for “The Day Of…,” this felt like a pretty standard (yet heavy) NIGHTWISH album, full of trademark heavy-ass riffs and super cool orchestrations, “The Children of ‘Ata” started playing. I wrote in my notes: “What is this?” And then… “What is this language? Is this some kind of tribal chant?” It quickly turned into, “What the heck is ‘Ata?” and “What the fuck are these ’80s keyboards and this disco beat?” It’s worth mentioning that I wanted to go with an open mind into this prelistening session and not research too much about the songs, so I may have missed a memo originally of what this song was about, more on that later.
When I wrote those things down, it wasn’t out of a negative emotion—I was genuinely intrigued and actually quite excited by the surprise. This might just be the quirkiest and coolest song NIGHTWISH has ever done. It left me so confused in the first 10 seconds that I really hope no one was filming my face as I listened to it. While the verses felt quirky, the chorus brought us back to more familiar territory and made for powerful singalong moments.
Altogether, I think this track stands out precisely because it’s something different, and I’m all for it. After the prelistening session, I learned that this song is based on the story of the Tongan Castaways, and in my interview, Tuomas Holopainen clarified that the chants used were of Tongan natives. This turned out to be the highlight of the song for me, as the beautiful language had a rhythmic quality that was interwoven throughout the track, giving it a unique spin. And let’s be real, “HU-HA!”-like moments in songs are always awesome! Based on the first listen, this was definitely a highlight for me, and in our interview, it became clear it’s also one of Holopainen‘s stand-out tracks on “Yesterwynde.”
The next track, “Something Whispered Follow Me,” was perhaps one of my least favorite ones, based on the first spin, maybe this was one of those songs that required a little bit more spins to fully grasp it. It had a familiar NIGHTWISH sound and felt somewhat reminiscent of “Endlessness,” due to the song starting off with a somewhat doomy atmosphere, featuring cool guitar leads during the verses and poppier vocals. Overall, it felt like a solid NIGHTWISH track with a timeless quality. There’s a particularly memorable section towards the end that I can easily imagine becoming a highlight in live performances, especially once NIGHTWISH is back from their hiatus—perfect for an arena moment with a sea of flashing lights.
“Spider Silk” followed with a piano intro reminiscent of the iconic mood from the famous piano song from Tim Burton‘s Corpse Bride. As the song progressed, a warm guitar melody was interwoven, and when Floor Jansen‘s vocals entered, she eerily whispered the line “sucking them dry,” adding a theatrical touch once again that I appreciated. The hook centered around the phrase “spin away,” which amusingly I misheard as “spinnenweb” when not paying attention properly to the lyrics (spiderweb in Dutch), though it was purely coincidental. The song featured some of the signature NIGHTWISH extravaganza, showcasing how something so unsettling as spider silk (I really hate it when that stuff gets stuck on my skin) turns into something so beautiful.
Continuing with “Hiraeth,” the song began with an acoustic guitar intro, and intriguingly, there was a voice-over that stated the song’s title. This stood out because it wasn’t something present in any of the other tracks, and it left me wondering if it had a larger significance that I might have missed on the first listen. The intro created a pretty atmospheric setting, with Troy starting off the vocals. After some beautiful vocal harmonies, Floor took over. The song felt quite minimal due to the absence of orchestrations, but it took a dramatic turn with a heavy folky section that erupted in sound. This part was particularly energetic and made me want to toss a chair aside and start dancing once again. It certainly elevated the song.
As we near the end with “The Weave,” the track began with peaceful orchestrations that, for some mystical reason, reminded me of Peer Gynt‘s “Morning Mood” due to their similarly soothing effect. Despite the mellow start, heavy NIGHTWISH elements gradually seep through, creating a lovely contrast. With the addition of a choir, the song takes on an epic quality. I didn’t take as many notes on this track as I did on the others, mainly because it was so pleasant, I forgot to write things down, but I do remember a particularly cool drum part right before the verse and a standout rhythm section with bass. The interplay between Jukka and Kai was impressive and really shined on this song, showcasing their excellent teamwork, their chemistry is undeniable, having a shared history with WINTERSUN.
The last song of the album, “Lanternlight,” is, in my opinion at least, felt like a somewhat atypical choice to close a NIGHTWISH record. If you’re a fan of The Lord of the Rings movies, you might find that it evokes a similar feeling to Annie Lennox’s “Into the West.” While it may not be as bombastic as a track like “The Greatest Show on Earth,” it offers a different experience. The song starts off mellow, with a dream-like piano melody and Floor‘s surprisingly deep and soulful vocals, which explore a new vocal range for her; simply beautiful. As the song progresses, the tempo picks up slightly, with additional piano and strings creating an elegant and ornamented sound. The lyrics, which at least reminded me of the fleeting nature of life—“I am the snow on your path, I am the secret stream”— felt like they were encouraging listeners to cherish every moment. Ironically, my pen ran out of ink during this track, so I couldn’t take further notes, but I remember that the ending was quite beautiful, featuring a soothing hum. It provided a calming, somewhat positive, and motivational conclusion to what has been a powerful album in a series of three, celebrating human life on this planet. The track concludes with the film projector’s sound again, revealing that we have come to the end of the journey.
Let’s address some of the questions that have been popping up recently in our comment sections. First, regarding the absence of Marko Hietala—did I miss him? While I absolutely love his voice, I didn’t find his absence particularly bothersome on the first listen. Of course, there were probably parts where if he had been able to leave his mark on it, it would have probably been dope, but it definitely didn’t feel like the songs on “Yesterwynde” were written originally for Marko‘s voice and then the band just filling up that hole with Troy‘s vocals. As for whether I felt Troy should have sung less, I don’t think that was an issue, I personally really enjoy the warmth of his voice and what it brings into the atmosphere of the songs. Floor Jansen remains the primary vocalist, and she showcased the range and brilliance we’ve come to expect from her, hitting impressive highs and this time also lows, a range we haven’t really heard her sing in, as well as using some poppier vocals once in a while. I read somewhere that Floor had to do her vocal recordings shortly after the birth of her second daughter, which makes me slightly wonder if we might not be hearing her full potential on this album. Although arguably even if Floor were performing at only 70% of her said potential, it would still be well beyond the average and incredibly impressive, and I certainly couldn’t tell by giving the album a first listen.
Regarding the album’s production, “Perfume of the Timeless” actually sounded better to me and the rest of the album didn’t have any major issues for me personally. A NIGHTWISH album is naturally a lot to grasp, but I was able to note down some lyrics and lyrical phrases and understand the big moments of the songs without any major issues, so altogether at least the rest of the songs felt perfectly in balance, and what we’re used of from NIGHTWISH‘s long-standing relationship with Finnvox Studios.
Finally, addressing a popular question: despite NIGHTWISH being on a touring hiatus right now, I’ve seen a lot of people worry about the end of the band. They are not calling it quits, in fact, they just re-signed for a multi-album deal with Nuclear Blast. Rest assured, there will be new music for us to enjoy, and if you haven’t had the pleasure of listening to Tuomas‘ and Troy‘s other project, AURI, yet, they are planning a tour in 2025, which is something I’m personally looking forward to!
Altogether, NIGHTWISH fans have reason to rejoice! “Yesterwynde” is an album that promises to get a lot of spins. My first impressions were very positive, and while considering the highlights of the record, I could only think of one track that didn’t stand out as much to me as the others (“Something Whispered Follow Me”). And even that one didn’t feel like filler; it was still a great listen. When I interviewed Kai Hahto earlier this year, he mentioned that this album would be very heavy, and he was absolutely right. It features the trademark NIGHTWISH distorted riffs we love, combined with lush, stunning orchestrations that draw you into a captivating musical experience—immersive from start to finish. While there are some darker moments on the album, the overall mood is quite positive and sometimes a little mysterious, providing an overall soothing listening experience.
Except for “Sway,” which still lingers in my head, none of the songs are as instantly catchy as hit songs like “Nemo” or “Amaranthe.” However, this doesn’t mean that there aren’t quite a few standout tracks on this record. Although one spin isn’t enough to fully appreciate every detail, I could play this album for hours on end and still discover new facets. For the best experience, Tuomas Holopainen suggested listening to the album in one sitting with the lyrics and artwork in hand, I’m guessing that’s what I’ll be doing once the album hits the shelves, to fully let it soak in and resonate. After our interview, he also mentioned that there are Easter Eggs to uncover, including one in “Perfume of the Timeless.” With so much to explore in the NIGHTWISH universe, the good news is that the album will be available in just over a month! We can’t wait to dive in again!
Written by Laureline Tilkin
Tracklist
- Yesterwynde
- An Ocean Of Strange Islands
- The Antikythera Mechanism
- The Day Of…
- Perfume Of The Timeless
- Sway
- The Children Of ‘Ata
- Something Whispered Follow Me
- Spider Silk
- Hiraeth
- The Weave
- Lanternlight
Lineup
Floor Jansen | Vocals
Tuomas Holopainen | Keys
Emppu Vuorinen | Guitars
Jukka Koskinen | Basses
Troy Donockley | Uilleann Pipes, Low Whistles, Acoustic & Electric Guitars, Bouzouki, Bodhrán, Aerophone, Vocals
Kai Hahto | Drums & Percussion
Label
Nuclear Blast Records
Links
www.nightwish.com
www.facebook.com/nightwish
www.nuclearblast.de/nightwish
www.instagram.com/nightwish/
www.twitter.com/NightwishBand
