Tuomas lipiec 2007

czarnycharakter

TUOMAS

Ricarda:
I must confess, I did not read so many new interviews yet at all. Hopefully I do not bore you with questions, which you already heard 200mal...

Tuomas:
If like that is, then I will answer each question completely differently than otherwise, specially for you (laughs)!

Ricarda:
Oh madly, thanks. Oh no, rather not, otherwise then everyone, I thinks would have invented the interview (laughs). But well, we begin. Erstmal naturally congratulations on your new album!

Tuomas:
Thanks.

Ricarda:
I find, it am the most varied NIGHTWISH album up to now, because all these different elements are connected. Was that something that you wanted to do from the outset?

Tuomas:
The main factor, if it concerns to make Songs is actually to be ahead-flat nothing. You begin simply to make Songs and at the end comes out evenly thereby which comes out thereby. I think, one can ruin many good songs and albums, if one plans, so after the slogan: "Okay, let us a hard album with that and the elements make! Let us an acoustic album make!" You must make and simply begin your head totally free. In addition one must make many Songs, for the new album had we 15, and then one hears the result at the end. But I must confess, I have also the habit that I think completely systematically of elements, which we had so far not yet in NIGHTWISH, and I tried these to then insert.

Ricarda:
On the album there are many celtic and folkige elements...

Tuomas:
Yes, exactly, that was exactly the idea behind this album. We had never before celtic instruments on an album, and I like the stuff actually rather gladly, of therefore wanted I it in NIGHTWISH to try. The same applies to the Boy Sopranos and the Gospel choir.

Ricarda:
Did all ideas of you come or Pip also its influence had?

Tuomas:
The Gospel choir was for example my idea and those celtic elements was also my idea, but naturally also Pip contributed, also much things, of which I would have never thought. Where am I to begin? It gave there as much, but for example the oboe-solo at the end of ' The poet and The Pendulum ' comes from it. First it should be played actually only by the piano, but then it wrote the melody for the solo. Many small things here and there come completely from it. It was a co-operation. It caught each day with the arrangements already in September 2006 on and from September to February called it me at least twice. Naja, perhaps not at Christmas (laughs), but otherwise really each day... "can I make this? May I make that? Is that really necessary?" (laughs)

Ricarda:
Did you think ever to make "Dark passion Play" as a concept album?

Tuomas:
No, never...

Ricarda:
Genuinly not? Nevertheless you have quite much gone through...

Tuomas:
Now, in the broadest sense it is perhaps a concept album over the fact that the life shits is that shits to humans is and which I shit... (thinks after)... am (laughs). Perhaps thus there is a vague topic, which pulls itself by the Songs, but I became it nevertheless not when a classical concept album tells to describe, its individual history to each Song.

Ricarda:
The album has also a very strong Soundtrack Feeling. _ be that the reason, why it now also a bonus CD with the version the song publish will?

Tuomas:
This idea came actually already from the last album. We had a Limited edition, on which pieces of instrument aluminum were contained by "Once". There were only 500 copies and these exclusively at film producers was sent away. Naturally it in addition, some other people heard, and they said to me that the pieces really please them - also without the singing. It was to be heard rather flatterful that the music for people functions also without singing, because actually is the singing with the main element. Thus we decided that we want to see, how the people think of the coming album as instrument aluminum work. But the philosophy did not come actually at all from us (laughs). In addition it will give to hear in the instrument aluminum versions things, which one cannot hear on the actual album. There were some orchestra and choir parts, which did not fit simply the singing, therefore created it it not on the album, but on the Instrumental CD are they to be heard.

Ricarda:
Okay, cool. ' Meadows OF Heaven ' acts of your childhood...

Tuomas:
(interrupts enthusiastisch), exactly. Finally I created it to write a Song which becomes fair this topic!

Ricarda:
Yes, you always say that your childhood is a large source of inspiration, but now give it its own Song about it...

Tuomas:
Completely exactly! I think, this album contains two of the best NIGHTWISH songs for me at all: ' The poet and The Pendulum ' and ' Meadows OF Heaven '.

Ricarda:
First and the latter (laughs)...

Tuomas:
(laughs). First song and last song. I like both songs really very gladly.

Ricarda:
I am an enormous fan of Stephen King, there had me some references in the eye to naturally jump. ' White of country OF Empathica ' for example, and I accepts times, ' 7 Days tons of The Wolves ' is derived from the book "The Wolves OF Calla"...

Tuomas:
Yes, is correct exactly. However I derived really only the title from it, the Song do not act actually not of history. It is a symbolic meaning, the text has nothing with the book to actually do. With ' White of country OF Empathica ' is it a little different, which can also with the book in connection is brought. In addition I klaute the idea to build me into a Song of "Song OF Susannah", because Stephen King inserts itself there also.

Ricarda:
I believe, I do not have to ask any longer specially whether you like the "Dark of Tower" books (laughs)...

Tuomas:
I think, these books stand on a level with "lord OF The of ring".

Ricarda:
I like it also very gladly and hope that they become times are filmed.

Tuomas:
Yes, I also! And hopefully they make then also good (laughs)... The books are so mad, them are indescribable.

Ricarda:
Then there are also Poe references...

Tuomas:
' The pit and The Pendulum ', exactly... Although there is perhaps no references, but the idea for the Song came along definitely.

Ricarda:
Are these literary inspirations for you how important?

Tuomas:
Obviously very importantly, but again once that is not anything that would be planned. Naturally everything that you reads or hears, has somehow an effect on you and on what you do. But I am really proudly on the symbolism of ' The pit and The Pendulum ' and ' The poet and The Pendulum ', I think, it sound myself really cool. Normally I hate these wordplays...

Ricarda:
Now tell times none shit, sowas make nevertheless continuing you (laughs)...

Tuomas:
Yes, I already make (laughs)... but but I hate myself also (laughs more). But I functioned really think, this wordplay, ' The poet and The Pendulum '. The blade, ever continues to swing downward and you finally in the center splits...

Ricarda:
Hurra, production (laughs)...

Tuomas:
Yes, exactly, finally I created it (laughs)...

Ricarda:
Do you prepare already mentally for the whole stupid questions over the texts of ' Bye Bye Beautiful ' and ' master passion Greed '? I think times, the media for it will ask...

Tuomas:
Yes, they already do that. I now gave already about 200 interviews to this album, and all always ask for it...

Ricarda:
I will not ask (laughs)...

Tuomas:
I will not also answer if you do not ask for it (laughs). But in Ernst: It is rather clear, and I was from the outset very open over the fact that for example ' Bye Bye Beautiful ' is a Song over Tarja. It is a kind Abschiedssong for it, but despite the aggressiveness in the song, it is definitely no hate Song or like that. It is a bitter-sweet Song, which developed evenly from a certain situation, therefore should nobody by the text attacked feel or like that. It is not ' Bye Bye Ugly One'... (lacht)

Ricarda:
Yes, that would be worse (laughs).

Tuomas:
That would be real it (kichert still). It was written in a good spirit. ' master passion Greed ' is there something else, but it was also a song, which had to be simply written.

Ricarda:
It noticed to me that straight these two Songs are rather straight forward, which concerns the text. Naturally there is something symbolism also there, but not as much as otherwise, if you understand, what I mean...

Tuomas:
I understand exactly, what you mean.

Ricarda:
The people can guess/advise songs with this not as much, what is probably also good.

Tuomas:
I believe, I wanted this Songs also straight for forward to make, simply because I was so sourly, sad and frustrated, everything at the same time. But I must say that I have an amusing feeling particularly with these two songs already, if I hear her now, because I do not feel the feelings, which are expressed in the songs, so now no more. The songs developed before two or one and a half years, and to this time were these feelings there, and I had to out-let them somehow. If I read the texts now, I think "Okay, then you felt at that time, now however no more." That is also the reason, why we will play ' master passion Greed ' never live! It is already on an album made hard things and unsterblich and should we it also leave.

Ricarda:
How do you have to have the singing lines written without Tarja as reference point?

Tuomas:
Exactly the same as before. Before I had only always Tarjas voice in the head, and then I had evenly only one woman voice in the head. Simply any voice. But, that is determines to most question posed, because people cannot reconstruct it, as I it to be done could (laughs).

Ricarda:
Yes, I kapier's also not (laughs).

Tuomas:
It was however really simple. I had the melody, I had any woman voice in the head and war's. And naturally I wrote the songs for the same being correct range as for Tarja, because who the new singer would become, had to be naturally also able to sing the old songs. The scale is thus the same.

Ricarda:
Did you go also for example to the Sibelius Academy and for singers did look for, or have it you there on the demos to leave?

Tuomas:
We got about 2000 demos, and there was only one person, whom we ourselves addressed. Really only one. Thus we actually relied on the demos.

Ricarda:
And to her also whom found.

Tuomas:
Yes, we needed actually only demo, and now are them there (laughs).

Ricarda:
Had their ever fear that the other candidates you would fall into the back, as soon as they were from running and inform for example the media? Did they have to sign something?

Tuomas:
No, we let nothing at all sign purely or so. They would not have believe I eh much to betray to be able. I mean, what they could have said?

Ricarda:
They could nevertheless already have told something about the songs...

Tuomas:
Yes, is probably correct. But all girls, whom we met, were so nice, and it passed also nothing. We thought over sowas at all no somehow (laughs)...

Ricarda:
Did you find the kind of voice, which you wanted to actually have at the beginning for NIGHTWISH with Anette now? Because at the beginning you wanted rather whom like KARI RUESLATTEN...

Tuomas:
TC, perhaps is so. In a certain way that is correct. It has however even a still stronger voice than KARI RUESLATTEN. Their voice is really strong. Many people, which heard the album or at least parts of it, think that its voice is somewhat weak, and one the weakness to hear can, but I do not hear that at all. All measuring instruments shot the first time, when them came to rehearsing and began to sing, into the red range (laughs). It has a very strong voice. In addition I think the fact that the whole excitement would be much larger, if we had had Anette for ten years and had taken now Tarja (laughs). The people would have asked themselves: "What the fuck?" (laughs more)...

Ricarda:
Since then Tarja outside is, you by the media was nearly already pursued, and they fell themselves ever more on your private life, straight also because of your new house. Did your behavior change somehow in relation to the media?

Tuomas:
Perhaps I behave now a little of adults, in the sense that I understand the media better. People should generally try in conflict situations to see everything from the perspective of the other one - at least for one while. One must try to understand the behavior of the other one I thinks, that is a really good advice for everyone. The journalists make their job for stop. They must get their cheque somewhere, and as soon as they think juicy story wittern, them about the moral no longer really. They think rather: "I must write story, so that I get money and mean children which to meals buy can"... You must understand thus also their side.

Ricarda:
, somehow you like too to TC... (lacht)

Tuomas:
No, understand me not wrongly, naturally is sowas still shits (laughs). There were some people, which made photos of my house and printed these in the newspaper. But I think, her do, what they must to do and argue we then against it. It is stop not always so black-and-white...

Ricarda:
Marco wrote a Song for the Finnish "Idols" winner ARI KOIVUNEN. Could you introduce yourself to write a Song for someone which you really do not know?

Tuomas:
TC, perhaps. Over it I do not have yet at all correctly thought...

Ricarda:
Then think now times of it after (laughs)...

Tuomas:
So far none asked (laughs)! But if someone would ask, then it would depend naturally also on the person. I must know at least something about the person, for whom I am to write the Song - also on the personal level.

Ricarda:
Thus you must also really become acquainted with the person...

Tuomas:
Yes, at least a little. But if it or it would then leave an impression, then naturally.

Ricarda:
You have also the Song ' While Your Lips of acres quiet talk ' for the film "Lieksa!" written. Were the defaults how strict?

Tuomas:
The director called me, I visited him, and it said "I needs a 4-minuetige Ballade on English, which was to become then the song of the female main role. In the song is the line ' While Your Lips of acres quiet talks ' to occur!" That were actually all defaults. I had that demo of ' EH ' thereby, played it him and asked "want you something in this kind?", and it meant: "that is exactly what I look for, Mach as as that!". From therefore it these two Songs are related in a way (laughs). The merry is that it should actually be sung by a Finnish girl...

Ricarda:
Oh, okay. That would have been my next question: Whether it was from the outset clear that Marco would sing the song...

Tuomas:
No, not at all! The director wanted a woman voice. And I had even a girl in the head, that the song to sing should...

Ricarda:
Someone well-known?

Tuomas:
No, nobody knows it. I went then into the studio, in order to take up everything taking up key boards and so, and I asked Marco whether he come could, in order the singing parts so that the girl would then know, what it to sing have, the melody and so. He came, sang the Song, and I thought only "Oh, wow!" (laughs)...

Ricarda:
Tschuess girl... (lacht)

Tuomas:
Yes, exactly (laughs more). I played Marcos admission the director, and he meant only: "who is that? This type will sing the Song!" "Okay, that is Marco!" (laughs). It was thus more a kind accident...