Tarja, la ex voz de Nightwish, también se hizo presente en los nuevos lanzamientos de música esta semana con «Frisson Noir»

https://album.link/s/6lfAwm0XnsI1AtVTTYYse8

#Tarja #AlbumReleases #rel2026 #Música #Nightwish #Metal #Rock

#TheMetalDogArticleList
#BraveWords
TARJA Says That “The Interest Of Me Departing From NIGHTWISH Was Kind Of Nasty – It Was Not A Good Moment In My Life”

https://bravewords.com/heavy-metal/tarja-says-that-the-interest-of-me-departing-from-nightwish-was-kind-of-nasty-it-was-not-a-good-moment-in-my-life/

#TARJA #NIGHTWISH #SaysThat #TheInterestOfMeDepartingFrom #album #newalbum #EP #BraveWords #metal #music

Pronto. Segurei o chorinho nesta versão orquestrada de Meadows of Heaven.  

Mais especificamente no final com o coral. Lindo demais!  

Ouve aqui:

https://inv.nadeko.net/GUVvNheRIg8

#Nightwish

Floor Jansen llegará a Chile con lo mejor de su carrera: los éxitos de Nightwish dirán presente en lo que será un show en solitario en el Teatro Coliseo | vía #NaciónRock

https://www.nacionrock.com/floor-jansen-llegara-a-chile-con-lo-mejor-de-su-carrera-los-exitos-de-nightwish-diran-presente-en-lo-que-sera-un-show-en-solitario-en-el-teatro-coliseo/

#agenda #floorjansen #nightwish

#TheMetalDogArticleList
#BraveWords
Exclusive: TARJA Remembers Her Time In NIGHTWISH – “The Power Of The Music We Did Together Carries On Today”

https://bravewords.com/heavy-metal/exclusive-tarja-remembers-her-time-in-nightwish-the-power-of-the-music-we-did-together-carries-on-today/

#TARJA #NIGHTWISH #Exclusive #RemembersHerTimeIn #album #newalbum #newrelease #interview #vocalist #BraveWords #metal #music

In honor of the niche video about What Even Is #Opera Anyway that I watched the other day, I am listening to older Tarja-era #Nightwish, which is apparently opera-adjacent.

https://www.youtube.com/watch?v=MpHxItOvPyQ

Play no Dark passion play  

#nightwish

So, what’s happening here is Australian symphonic metalers Ana and their debut record, Motivated by Death are set on pioneering a new sub-sub-genre. “Couture metal.” For the blue-jeans-and-band-tees wearers among us, couture fashion is all about expressive, customized statements in clothing, often expensive and always personalized. This is an evident visual influence for Ana, and musically the band cites their style as “a sophisticated, upscale evolution of the craft that prioritizes high-fashion theatricality alongside punishing sonic precision.” Fewer corsets, more spandex. One thing’s for sure, Ana have bought into themselves: they have a series of comics in the works written in tandem with their music,1 as well as a documentary film titled Watch Me as I Rise.2 But what about Motivated by Death? Their album, for their music band? Does it live up to the hoo-ha, or is Ana’s rising star a premature liftoff?

Ana are banking on the power of Y2K nostalgia on Motivated by Death. Early-aughts goth, symphonic, and nü metals comprise the core of Ana’s sound, with choruses sounding like Nightwish taking on Evanescence and Evanescence taking on Powerman 5000. Guitarist Josh Mak’s riffs shift between metalcore chugs, nü/alt-rock power chords, and gallops while drummer Andres Osorio and bassist Cody Lamb keep Motivated by Death consistently groovy and moving. There’s a smörgåsbord of synth sounds at keyboardist Mark Shi’s disposal, and when shredding alongside Mak Ana have a surprising knack for showy solos (“Shadow of Life,” “Papa”). Vocalist Anna Hristenko is, predictably, the crux of Ana’s sound, layering Motivated by Death with sultry, classically-inspired but pop-informed bars. She brings gravity to Ana along with unquestionable showmanship, and when Motivated by Death is kicking it recalls not only this millennium’s early rock/metal scene but a time when pop music was more audacious and bombastic.

But Motivated by Death often feels too overly calculated for its own good. Ana make sure to hit all of the beats of a radio hit on Motivated by Death. There’s the booming opener with “Hate Me” followed by the cyber goth panache of “Shadow of Life,” its one-two punch showing listeners that they got both the riffs and hooks they crave. There are two ballads, one power in “You Loved Me More than I Loved Myself” and one Evanescence’s “My Immortal” in “Sick Love” so radio has a choice in what they want play to death. Ana even outsourced a closer by covering System of a Down’s “Aerials,” safely assuring Motivated by Death ends well (in theory). What makes this mathematical approach especially jarring is that Motivated by Death is a very short album, barely hitting thirty-five minutes. Ana just fly through the motions, the listener’s every emotion carefully road-mapped along the way. Motivated by Death feels like a proof-of-concept for Ana, not their debut.

Motivated by Death is also just messy. Ana’s core symphonic sound is imbued with so many Y2K-era rock stylings that there’s hardly enough time spent on one thing to figure out what Motivated by Death is. Its diversity works against memorability; “Eyes of a Child” features a sitar riff in its bridge, and Hristenko breaks out her operatic chops on “Papa,” and yet I forget these things even happen every time. Hristenko is a powerful singer, but clumsy phrasings in the verses of “Sick Love” and “Aerials” leave them feeling awkward, while her declaration of “Listen up you motha fuckeeeeeers!” in “Following the Wind” isn’t aggressive or cheeky enough to land convincingly. Motivated by Death is not helped by Ana’s insistence on loudness and its radio-made production that makes the drums sound like plastic cans and robs any of the dynamics songs like “You Loved Me More than I Loved Myself” and “Aerials” need.3 Motivated by Death sounds like Ana were throwing things at the wall and seeing what stuck. Not enough stuck, and what did doesn’t work too well together.

I fear that Motivated by Death isn’t the statement Ana were hoping for. Ana are a talented, driven bunch, and there’s no doubt there’s a market for what they do. It’s not all bad—”Shadow of Life” slaps and “Sick Love” can be pretty moving at times4—but both playing it safe and half-baking your album is a bad combo. Despite its truncated runtime Motivated by Death proves a slog to get through. I could see a world where I stick up for Ana, one where they’re more bold-faced and adventurous, and I’m getting wedgied for liking “couture metal.” Right now, that’s not this one.

Rating: Bad
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Eclipse Records
Websites: anaband.com.au | facebook.com/ana.band.0fficial
Releases Worldwide: May 29th, 2026

Show 4 footnotes

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026