Enabling Chinese input in Ubuntu 11.10

I recently upgraded my Ubuntu 11.10 laptop Edenbeast with a complete reinstall of the operative system (renaming it Watcher after Agalloch’s ”The Watcher’s Monolith”), and thought I’d try to give it some Chinese input keyboard while I was at it.

Turned out to be easier than I thought. Follow this easy guide and within five minutes you are set.

Starve like huge poodles free in the rain forest…

…and try to figure out why this has been my most visited post for quite a while now (even ahead of the startpage by 40 % or so). It may simply be the obscure reference in the header leading forth many Poe fans, but I can’t find a lot of her in the general Google searches leading here.

Anyways, for more info: the traffic to the blog has been steadily increasing since early October, which I guess is good. The most popular Google search words are still ”simone simons hot” and ”tuomas holopainen” (the first almost twice as popular than the latter), but there have also come several new claimers of the throne. Both ”Taikatalvi translation” and ”taikatalvi lyrics nightwish” appear on positions 3 and 5 (both leading here). Other search words related to Nightwish and their new album Imaginaerum (more specifically concerning my reviews on Imaginaerum and on ”Storytime”) appear on positions 8, 9 and 10.

While the majority of my audience is international (the biggest majority is 14 % from the USA), the 12 % majority of Swedes are apparently very interested in the red panda, and the search word ”kattbjörn” (Swedish name for the red panda) is on position 4.

There’s also a second Simone Simons search phrase, simply ”simone simons” on position 6, and my article from when I considered buying a KORG PA-50 is for some reason still interesting, leading to ”korg pa 50” still being a steady search word on position 7.

Summary, common Google search phrases leading to my blog:

  1. ”simone simons hot”
  2. ”tuomas holopainen”
  3. ”Taikatalvi translation”
  4. ”kattbjörn”
  5. ”taikatalvi lyrics nightwish”
  6. ”simone simons”
  7. ”korg pa 50”
  8. ”nightwish storytime review”
  9. ”nightwish imaginaerum review”
  10. ”imaginaerum review”

Interesting, huh?

Amberian Dawn – The Clouds of Northland Thunder (2009)

Though an incredible jump from their 2008 debut River of Tuoni, The Clouds of Northland Thunder is still somewhat lost in the early days of the symphonic power metal act that is Amberian Dawn.

Amberian Dawn makes good, unique power metal with symphonic influences in a genre that nowadays is all too dominated by Nightwish wannabees making it difficult to find the actual good bands, and for that reason alone AD has somehow been lost in the maelström. And on first listen, the keyboard-dominated melodic tunes with soaring soprano vocals by Heidi Parviainen may sound like just another copy, but on further listens one realises the work that has been placed into every note, with exceptional work done by all members. What differentates this band from the rest is the technicality of the instruments (especially guitar and keyboard) that follow the progressive, neo-classical elements made famous by acts such as Yngwie Malmsteen in the 1980’s, and the relentless speed of most songs, with the only exceptions of ”Willow of Tears” and ”Birth of the Harp”, the two ballads on the album.

But in spite of the technicality of the musicians, the beautiful vocals and lyrics by Parviainen, the band falls into the same problem as they did on ”River of Tuoni”. The songs all too often end up in the exact same, traditional verse-chorus-verse-chorus-solo-chorus pattern of 3-4 minutes, making the music overall sadly predictable. And with the exception of ”Incubus”, the band proves for the first time that they can make tempo-differing, epic tracks above the five-minute mark. And with exceptional, prolonged instrumental sections on before-mentioned track and others such as ”Lost Soul” and ”Saga”, they prove they could easily pull off pure marathons of neo-classical wonder. Somehow, though, it gets lost in the hope of making a well-played radio hit (I will not claim they don’t succeed – songs like ”He Sleeps in a Grove”, ”Kokko – Eagle of Fire” and ”Shallow Waters” are scarily catchy, fast and heavy).

Agalloch – Marrow of the Spirit (2010)

American black folk metal act Agalloch’s fourth studio album Marrow of the Spirit was released in October of 2010, perfectly before the winter season hit Sweden. And yes, the music fits perfectly with winter – this album is especially gloomy and filled with despair even in comparison to 2002’s The Mantle and 2006’s Ashes Against the Grain. The listener is given a unique 65-minute experience, travelling through an unforgiving forest of despair and doom, revisiting the hands of a creator and drowning in the cold lake Niðstång again and again.

They Escaped the Weight of Darkness (03:41)

While the album technically starts with They Escaped the Weight of Darkness, I would lie if I counted is as anything but an intro. It is almost four minutes of setting the mood with sweet cellos contributed and apparantly also composed by cellist Jackie Perez Gratz. The intro works extremely well, even though I wouldn’t have minded it shortened by a minute or two, and it perfectly sets the mood when we are thrown back into the black metal abyss.

Into the Painted Grey (12:25)

On first listen, Into the Painted Grey was the weakest track to me, and checking through music sites (especially Last.fm), it seems most listeners agree. Black metal has never been my genre – while most heavy metal genres have spiked through me at one time or another, black metal has constantly stood out as meaninglessly dark and without any real emotion. Agalloch became the exception of this when I first heard Ashes Against the Grain, but only because it is so much more – it stands out with incorporating both harsh and clean vocals, and it features folk guitar seldom heard in the genre. Into the Painted Grey is on first listen obvious return to a much more simplistic black metal, and it is only on subsequent listens that I have realised that this is not the case.

Into the Painted Grey features a force and a darkness seldom seen in Agalloch’s music, alongside the high-pitched guitar melodies and the just slightly audible acoustic guitars. And while the first five minutes are of an incredible force of ”let’s blow this shit up”, the remaining seven minutes or so feature a return to classical Agalloch, with sudden mode swings between electric and acoustic guitars, and perfect drum-guitar moments almost never heard in black metal. And as I hear vocalist John Haughm scream out ”How long shall I suffer here?” just past the seven-minute mark, I can’t help but feel a chill over my body and a tear by my eye.

While the lyrics of Marrow of the Spirit are as cryptical as ever before (and as they should be), these are the lyrics I can understand the most. The loneliness and despair of this everlasting, immortal being (dare I say God?) is saddening beyond my understandig. If ”You Were But a Ghost in My Arms” made me feel like running through a forest and ”A Desolation Song” had me weeping with a bottle of vodka in a Lappi shelter, Into the Painted Grey makes me want to scream from the very top of Kebnekaise.

The Watcher’s Monolith (11:46)

When ”Into the Painted Grey” ends so suddenly The Watcher’s Monolith picks up wonderfully with classic Agalloch acoustic-electric guitar composition. This is definitely the most folky of Marrow‘s six tracks, and it works greatly with many good hooks and riffs. Haughm varies greatly between harsh screams and clean, almost whispering vocals in this one, and the track creates a deceptive mood, quickly varying between mellow tranquility and piercing tensity. Both the music and the lyrics give me the feeling of this song being the one with the biggest story of the album, but I still can’t quite figure it out through the words.

From 8:40 and onwards is a beautifully excellent section, alongside the second half of ”To Drown” my favorite of the album. A simplistic yet crushing guitar-drum-bass riff along a wonderful two-guitar solo melody leading into the sounds of an empty night and a two-minute piano outro reminiscent of Beethoven’s classic ”Moonlight Sonata”.

Black Lake Niðstång (17:34)

Black Lake Niðstång is constantly seen as Agalloch’s finest work ever, and although I still can’t make up my mind I can surely say it is the best track on Marrow, alongside the yet-to-come final ”To Drown”. It starts out with a two-minute keyboard-timpani-guitar intro, leading into a classic acoustic-electric guitar moment. The first four minutes are basically a long tribute to Scandinavian folk guitar, alongside the crushing keyboard-guitar lines and Haughm’s (?) whispering voice of agony.

By the four-minute mark, the actual song kicks in, and what the booklet calls ”voice of the dead” begins a whispering verse. The later ”voice of the niðstång” (a niðstång is also called a nithing pole in English), a crying yelp of Haughm’s, is incredible and really shows his varied talent as a vocalist. The song later moves into an almost four minute long keyboard interlude handled by a guest play from Sun O)))’s Nathan Carson. While these kind of things may go incredibly wrong, this one really works. The four minutes deliver an incredible emotion and every time it so suddenly falls back into the band I want to scream alongside Haughm. And the final few minutes before ”Ghosts of the Midwinter Fires”, the lyrics finally tells us the end of the story about the Black Lake Niðstång, and… well, why you should not drink from its waters.

Ghosts of the Midwinter Fires (9:39)

At almost ten minutes, Ghosts of the Midwinter Fires still stand out as the quickest and most sudden of all songs. A fierce explosion of riff after solo after riff, it manages to control itself and work incredibly well throughout it stages, from the high bass intro and interlude throughout running drum sections and on through screaming vocal lines, and understanding its lyrics it works really well together, including its suddenly oh so saddening finale, that moves into the final track…

To Drown (10:27)

On first listen, To Drowns was the first track to really stand out. I have always been especially fond of all its elements, really, from the ambient sounds to the folk guitar, from the cellos to the clean vocals and onward to the magnificent drone metal finale. I have little useful to say on this track, really, other than that it is an incredible experience, beating previous final tracks like ”…And the Great Cold Death of the Earth” (The Mantle) and ”Scars of the Shattered Sky (Our Fortress Has Burned to the Ground)” (Ashes to the Grain) incredibly.

Stratovarius – Elysium (2011)

Power metal pioneer Stratovarius’ twelth studio album Polaris basically shocked the fans in 2009, bringing forth a powerful line-up after the departure of long-time guitarist and composer Timo Tolkki, who left the band in a big feud in 2008. Polaris was a refreshing new album, stepping on new grounds of progressive metal and techno, and meanwhile continuing the twenty-year tradition that made band famous to begin with – technically challenging yet extremely melodic, uplifting songs with heart and emotion.

2011’s Elysium, the second album with the new line-up, is probably even better. The album highlights on melodic hits such as Darkest Hours and Event Horizon as well as the beautiful ballad Move the Mountain and the epic and emotional 18-minute title track as well as the beautiful Lifetime in a Moment. The album perfectly balances all that we have learned to expect from Stratovarius, and it even brings a bunch of new stuff to the table.

1. Darkest Hours (04:10)

Released in late November of 2010 alongside ”Infernal Maze”, Darkest Hours is another one of the many Stratovarius hits and singles that wouldn’t grow on me immediately, alongside especially the Polaris single ”Deep Unknown”. While growing on me eventually and becoming a pretty strong track, ”Darkest Hours” stays somewhat of a medicore track, though it is indeed a good listen.

2. Under Flaming Skies (03:51)

An interesting track with some unique riffs and melodies, even though I hoped for a return of the Arabic (?) theme in the intro. The solo is good but I can’t help but feel that the song would have worked better with a slower C-passage before the final chorus.

3. Infernal Maze (05:32)

Infernal Maze was perhaps a bad choice for a pre-album single release (alongside ”Darkest Hours”), because of its epic and extremely non-singley arrangement, but to me this is a golden song. It reminds me of many of Stratovarius classical epics, alongside the newer, progressive and neo-classical themes of Polaris, especially ”Emancipation Suite”. The song gets a grip on both an emotional and technical level, bringing up speed in perfect balance with slower tempos and excellent guitar and keyboard work. It grows a lot in just five and a half minute, and it does really impress me.

4. Fairness Justified (04:20)

The beginning of this semi-ballad sounds a bit off right after ”Infernal Maze”, but it works. The choir chorus works unexpectedly well, even though it feels a bit sudden and maybe even forced upon the listener. Alike ”Under Flaming Skies”, I think the chorus is better suited for a more epic track, where it can be built in additional two or three slower minutes before the first chorus.

5. The Game Never Ends (03:54)

The Game Never Ends sounds (at least on first listen) a little too much like old school HammerFall for my taste. Power metal is good and HammerFall is okay, but this kind of thing has been done. Hopefully it will grow on me on subsequent listens. The ending keyboard solo is pretty cool though.

6. Lifetime in a Moment (06:39)

The second longer track on the album (after ”Infernal Maze”) is less progressive and more of the traditional epic style, even though it does incorporate some nice new age reminiscent sounds and some techno work after the choruses. Starting out with an interesting choir introduction, it moves into a calmer piece and escalates perfectly as the chorus kicks in just before the three-minute mark. The guitar riffs in the chorus stick out like they seldom do in Stratovarius music, and it works. The guitar solo, alongside several solos on the album, is a bit disappointing and too generic for my taste, and so it also fails to bring the song up properly before the third and final chorus, but it is still okay. The song reminds me of ”King of Nothing”, one of my favorite tracks from Polaris, but I think I might start to prefer this.

7. Move the Mountain (05:34)

Move the Mountain is the first proper ballad on the album, seeing as even though both ”Fairness Justified” and ”Lifetime in a Moment” has ballad elements but I wouldn’t count either as a full and proper ballad. This is a good thing, really, and something I love in music with special arrangements (bands that come to mind include both Devil Doll and My Dying Bride) is how they seldom have real ballads, but they incorporate it well into the music making more songs have a whole new dimension. Kind of like the old-school episodes of The Simpsons and Futurama often ending on a heart-felt tone even though the episode overall is comedy.

I think vocalist Timo Kotipelto brings in some amazing vocals in here, especially in the heart-felt verses. Keyboardist Jens Johansson – one of my all-time favorites – brings in the first really amazing solo on the album at 3:00 – 3:56 until he also brings some beautiful piano melodies when the song moves into a bridge. I was previously disappointed with some of the songs lacking a proper bridge (especially ”Lifetime in a Moment” which ended all too soon), but this kind of makes up for it.

8. Event Horizon (4:24)

Wow! This song kicks off wonderfully well with some strange noices and voices moving into a neo-classical keyboard section before the first verse. And you know what I said about the lack of good solos? I take it all back. This song is filled with great riffs and solos, even though the vocal sections (on first listen) don’t sound that extraordinary. This is definitely a live song, and I can’t wait to see this live in the future.

9. Elysium (18:14)

Basic summary: This song is pretty damn awesome. It is epic and emotional and everything one could want from an 18-minute track from a technical and wonderful band like Stratovarius. It contains three different choruses, all extremely good, and it has some wonderful riffing, solos, picking and vocal melodies, with all instrumentalists as well as vocalist Timo Kotipelto on the top of their trade. I wrote down my thoughts while listening to it the first time, and you can see them here below.

[00:00] The big album epic… I was really looking forward to this. Stratovarius generally bring great longer tracks (many bands do, the longer tracks works good for great composers who need longer time to fully achieve their dream), and I’m pretty sure this is their longest yet – popular bands in general don’t deliver tracks above the 12-minute mark or so, with a few exceptions.

[01:06] The track starts out promising with keyboards and some full band work before being joined by a choir. Nice and epic.

[04:00] The song works into a verse with Kotipelto’s agonised vocals, and then moves into a chorus, a cool mixture of guitar riffing, bass lines, keyboard picking and some guitar melody. Then comes a guitar / keyboard battle solo, and it’s a quite nice one. Why did they save all good solos for the final three songs?

[06:01] The chorus returns a second time, before the song falls into a strange mid-section with cool effects, slow drums and some guitar riffing, moving into a heavier section.

[07:48] Drums and bass lines are joined by Kotipelto’s vocals, and it moves into some new chorus before a guitar solo kicks off, and he repeats the verse.

[11:00] Another great guitar solo! The chorus really starts making an impression the second (or is it the third?) time around, and I realise how emotional the song is on a deeper level.

[13:32] The song moves into a section like its introduction, and it really sits well after the chorus. Kotipelto’s voice works extremely well in with the instruments, and its more varied and emotional than, dare I say, ever before.

[16:52] An instrumental, semi-techno section comes and brings the song up even further, before a choir kicks in and with it kicks some serious ass, followed by the solo. I’m somehow reminded by one of my absolute favorite Strato songs, ”Mother Gaia”, but I can’t tell why. The song then moves into repeated chorus originating in the acoustic section (see 13:32) and it works oh so well. As always, I don’t listen much to the lyrics on first listen, but as soon as I get the actual album and not the Spotify version in my hands I will surely listen through it again with the booklet in my hands.

[18:13] And it ends.

Follow the evolution of my upcoming album

As some readers may know I like playing and composing music, mainly through keyboard, and I’ve released a number of demos through the music site Last.fm throughout the years, both as Hopes Were High (a now dead project turned band) and as Quispiam, my current solo project.

With the upcoming Quispiam album ”As Autumn Leaves Decay”, on which I’m currently working, I’m concentrating a lot more, bringing much better music and focusing more on getting it out there. It is still my project, and I have written all the music and lyrics, and I record all instruments on my own, but I am currently negotiating with several different vocalists to guest on the album, as well as a cover artist to produce the cover to both the album and the eventual single that would preceed it. I have also signed on to a so called ”digital record label”, a company which helps me bring my music to  iTunes and Spotify among other online services. This is already happening in the next few weeks with my old Quispiam album ”The Flight of the Last Raven”.

What’s more, I have created both a Facebook page and a website for the project. On the Facebook page, you can currently follow smaller updates (finished tracks, minor reveals) and on the website you can read more about the bigger updates.

When the album comes out, it will be made available both for free downloading (through the site, Last.fm and torrents), on Spotify and to buy digitally through iTunes.

Roland AX-Synth – ordered

So I have finally ordered a Roland AX-Synth! Apart from a continuum, this is my one instrument I need before I die. I have dreamed of it for so long, but just couldn’t afford it.

And awesomeness isn’t enough to describe it.


The last few days I’ve been running in and out of music stores looking for a new keyboard. I have got a really great one, a relatively new Yamaha PSR-S500, as it is, but for playing a lot of my music I need two keyboards at once.

Korg PA-50

Korg PA-50

I was first thinking whether to buy a cheap one or an exclusive one. I don’t really use a great one, I thought, since my Yamaha is so damn wonderful. All I need is it to make an OK sound. But then I thought, if I buy a poor one now I’ll have to buy another one in not too long time. Isn’t it smarter buying a better one now, and also get some extra effects which I miss on my Yamaha?

I tried out the KORG PA-50 in a local music store (Musikbörsen), and it was great. I didn’t think it was possible, but it had even better sound than my Yamaha, especially the piano sound. It was also possible to change the split point, which is great since I think it’s too small on my current keyboard. The PA-50 also have an echo sound, sound effects to start only by pressing a button, a great work station, etcetera, etcetera… I’m really intrested in buying it, but… the price. Damn it, the price.

Wish I Had an Angel and Bye Bye Beautiful part of a story?

Hint-hint! I don’t think you ought to read this journal unless you’re more or less all-knowing about the story of Tarja Turunen being kicked out of Nightwish in 2005, and their new singer Anette Olzon, who joined them in 2007. I know very well I’m a geek, so shut the fuck up about telling me. Thank you.

TarjaI read in an interview with Tuomas Holopainen (keyboardist and composer of band Nightwish) that he concider their songs SpelaWish I Had an Angel (from 2004 album Once) and Bye Bye Beautiful (Dark Passion Play, 2007) as part of the same story lyrics-wise.It has also been rumoured that Master Holopainen had a crush, which was verified in an interview – even if he wasn’t deeply in love with her, he at least had a mere crush on her, ”as did almost everyone as she was a very beautiful woman”. My theory: Wish I Had an Angel is about his platonic love towards Tarja, the ”angel” which he cannot have. The subject of Bye Bye Beautiful is obvious as well as verified – it’s about firing Tarja from Nightwish. In other words, the story can be like this:Part 1 (Wish I Had an Angel):Tuomas has a crush about Tarja, yet isn’t loved back.Part 2 (Bye Bye Beautiful):Tarja is fired from Nightwish in 2005 partly due to her lack of interest in the band, and her changed attitude making her a complete bitch (my interpretation of the words in the letter (see the sources)). This doesn’t have to have anything to do with Tuomas’ crush on Tarja, but still this is a way of making the clear statement that he doesn’t want to be with the one he loves. Also, as is conspired among many fans and tabloids, the real reason of firing Tarja was because he couldn’t stand not having her. Either way, I do think this was a part. It seems like it, if Wish I Had an Angel and Bye Bye Beautiful really are parts of the same story.Sources:* Tuomas’ Nightmailhttp://www.nightwish.com/en/community/nightmail* Tuomas talks about Dark Passion Playhttp://www.tuomasholopainen.net/darkpassionplay.html* Open letter to Tarja in which she is firedhttp://nightwish.com/en/article/6

Comments: (taken from the Last.fm article)


Hey, very interesting, I didn’t know he had said that. Here’s my possible explanation. Its hard to infere meaning because the lyrics of WIHAA don’t actually make that much sense, but lets have a go at analyzing them anyway. ”Deep into a dying day”. Here, ‘dying day’ could represent the end of the old era, meaning that the decision to fire Tarja is on his mind, and he is ‘deep into’ it [perhaps he is refering to the infamous letter, ‘deep into writing it’]. ”I took a step outside an innocent heart”. This could refer to the realization by Tuomas that as the boss he has to do something which will not go down well with the fans. He won’t be seen as innocent, in many cases he will be singled out and hated. Or perhaps Tuomas already feels guilty for what he will do, and thus his heart is no longer innocent. Or maybe this is reference to Tarja, that greed has made her heart loose its innocence.

”Prepare to hate me fall when I may, This night will hurt you like never before”. Tuomas seems to be saying this might be the worse mistake of my career – ‘fall when I may’, and at same time preparing Tarja, acknowledging that this will likely end their friendship. But a link to BBB – did you ever listened to what we played?”Old loves they die hard.” Love doesn’t have to mean ”in love”. Tuomas has stated many times that he has loved her voice, and that she was beautiful, but call me crazy but that doesn’t sound like anything more then admiration. Tarja was his muse, and he loved her. But I don’t believe he was ever ”in love” with her. [He has a girlfriend].”I wish I had an Angel for one moment of love. I wish I had your Angel, your Virgin Mary undone”. Tuomas wants an Angel? In the first line that doesn’t have to mean Tarja. Following the first versus if Tuomas is considering firing Tarja, maybe angel is symbolic of a female vocalist whom he can love [not in the dirty way] and be inspired by, as is no longer the case with Tarja. In the second part, that might refer to Tarja, he wants her angel, as the way she was before the change in her character.”I’m in love with my lust”. Lust is a sin. Like greed. ”Burning angel wings to dust”. What I infere from these two lines is, its not working out. 1. These could be representative of Tarja, she is saying I’m in love with my sin and its causing destruction, literally turning the band relationships to dust, or 2. Tuomas is saying because he is allowing the problem to remain, he is causing the destruction. ”I wish I had your angel tonight” – Tuomas really wants the old Tarja back.’Drunken disguise changes all the rule’ – Tuomas admitting he has an drink problem.Okay not going to do anymore because I’ve run out of time. Might tomorrow if this sparks up a quarrel ;P. But anyway I would agree with Tuomas that they follow the same story but I don’t seen WIHAA as an unrequired love song for Tarja, seems more like a warning to me Of course I have the gift of hindsight on my side.Also note that it ends on ‘I wish I had an Angel’ four times, rather then ‘Your angel’. Suggesting Tuomas wants an angel [new vocalist] really badly.The problem of course with lyrics is that they are completely open to intrepretation. For all we know Tuomas put them together because they were pretty.

Quispiam (me):

Thanks for showing such an interest. I don’t think he was in love with her either, I guess I expressed myself unclear. Having a crush, being in love, those are two different things. I would say that either1) He was in love with her, but knew he couldn’t have her. That’s why it varies so much between (as your theory goes) that he wants to fire her, and that he says he wants her to be his (”I wish I had your angel tonight”); he knows it’s impossible, yet
he cannot help to think ”but maybe I can have her after all…” I know since I’ve been in the same position, and it’s quite tough on you. He also doesn’t say that he wants HER, that she IS the angel, he says he wants HER angel, i.e. what she used to be and maybe still is deep inside….or…2) He wasn’t in love with her, but Marcelo destroyed her through his greed, as described in Master Passion Greed, destroyed his old beloved friend. He didn’t want this to happen, he wanted the old Tarja back. Even though he’s not in love with her, he admires the old Tarja enough to refer to her as an angel. Think of her as a shell with the old Tarja either killed long ago, or trapped inside the shell. Desperately, Master Holopainen tries to bring her out, more and more realising that he can’t. She is long gone. He realises that he if he can’t reach the angel inside the shell, he has to destroy the shell too, metaphorically. Through firing her. I would say that the song is about dealing with those strong emotions when he has to get rid of his long lost friend. Think of it yourself; you have a friend who (choose yourself if you want to see it metaphorically or not) you love till the end, yet he is trapped inside a demon. You try to find your friend within the demon’s heart, but you slowly realises that your friend has become the demon. He is not your friend any more. He is, against his will, a demon. The angel is trapped within the demon, what is there to do but to through a burning crucifix at the demon?I’m sorry I may sound rather poetic, I’ve been working on a song text the whole day… 😛Eternalwanderer:@The above: I like your second theory. In addition to making sense, it’s ridiculously nicely worded.Anyways, your whole theory makes sense to me, though I can’t say as I’m nearly as familiar with every word master Holopainen has ever spoken.Solyndra:In the biography he said however that WIHAA was written (or he came up with the idea) when he went to a bar with his girlfriend at the time and that all the guys were lusting after her. And I believe it kinda pissed him off xD His girlfriend at the time couldn’t have been Tarja because she was already married, and BBB is definitely directed at her.So I think the storyline could be correct lyricwise, but I don’t think the actual facts connected to the lyrics are connected as well.And by the way – in 2004 the band and Tarja were still friends. It went wrong during the tour, not before, if my memory serves right.Quispaim (me):Solyndra: You’re right, he have said that. That’s the one con in my theory, maybe I should have mentioned it.And yes, they have said that it was during the tourings, but also that they never rehearsed Once together. The guys had one shift, Tarja another, so they barely met. Maybe Tuomas already thought of this, and the tour was what made it worse.Rozen-rot:I think tensions had been arising for a long time, I mean they didn’t just happen over night. Look at Century Child released in 2004, Tuomas doesn’t seem to be in a good mood writing that one. Then factor in he wanted to leave. Problems were brewing for a few years prior to that release.That and the lovely Mrs Turunen stating in an interview that she and Tuomas were never friends. Nice.Quispiam (me):Rozen-rot: Little is known about why he wanted to leave Nightwish after Wishmaster (or was it after Over the Hills and Far Away?), all he has said is that ”they felt musical differences among the members”. That’s also why he fired Sami, who according to him didn’t have a similar goal in their musical life (they’re still friends though), and why so much changed with Century Child. I don’t think it has to do with Tarja, really.Solyndra:It wasn’t just the band. He has also said his personal life had pretty much collapsed at this point..BlackDahlia333:I did believe that there was a connection between these two songs. Even the music sounds somehow simalar. So as far as we know that BBB is about Tarja why don’t believe that WIHAA is about her too? Tuomas has said she was his muse so I think he loved her (I’m not saying he was in love with her) Tarja had express her willing for solo career before the release of Once so maybe Tuomas was thinking his options.Quispiam (me):Yeah, well, I don’t think Tuomas was (nor is) in love with Tarja; neither WIHAA nor BBB really suggest love (more than friendship, respect, passion etc.).And yes, I know that if I were Tuomas I’d want to kill all the fans discussing his deeply personal problems, but hell, I have too much free time. GreyWolf84:I found your journal wandering on lastfm..I hope it’s ok if I add my comment on the matter..Actually Tarja husband really stated Tuomas was in love with her (read Marcelo Cabuli answers, in Tarja’s wikipedia). And Tarja confirmed it.Now I’m not sure which kind of love was it..for sure it wasn’t just a random crush since Marcelo quoted Tuomas own words saying ”nobody was able to stop his love for Tarja” . Maybe it was platonic, maybe it was more physical..but according to Tarja and Marcelo he was for a long time in love with her.Going back to the song..BBB is surely about Tarja . I don’t think WIHAA has a connection with her..When Tuomas talked about ”sister songs” I think he meant music-wise, not lyricswise.As someone said it, the song was written after a night in a bar with his girlfriend and guys started to hit on her..and Tuomas didn’t know what to do and was kinda pissed. I’ve never understand how the lyrics are connected to the event, however this is what Tuomas said.Quispiam (me):@GreyWolf84: Ofcourse, and I haven’t ”decided” for an opinion or theory of my own, I merely debate on facts and guesses. I have read Tarja’s letter, and I know that she and Marcelo over and over again has said that Tuomas did feel for her and that he did confess this, more or less threatening Marcelo to leave her. However this is word against word, and we’ll never know who’s right. Tuomas states he didn’t feel anything more than a crush for Tarja, and that was years ago, back in the late 1990’s. I would presume he more or less admired her, felt a platonic love, but that he had accepted that he could not have her. When Marcelo stepped into the picture he was pissed of, partly in jealousy, but mostly simply because he destroyed his friend. That’s my theory.Your theory on BBB and WIHAA is very possible, and I can at least somewhat relate the lyrics of WIHAA to that event, if it’s written from their point of view.