"Cassie" by Flyleaf from Flyleaf

The first song I'd consciously ever listened to by Flyleaf, I first heard "Cassie" when Cassie came up in conversation. That's the Cassie who died in the U.S.-famous Columbine school shooting through the words, "Yes, I believe in God". (Though some people say it was an urban legend, my memory and the old news articles I can find verify her martyrdom.) I've been wanting to read her biography/diary for years.

"Cassie" is a tribute to that girl and her final words. "'Do you believe in God?' written on the bullet. Say 'yes' to pull the trigger." "And Cassie pulled the trigger."

The Christian band Flyleaf doesn't stop at offering a tribute to Cassie. Lacey Mosley directly brings the story home to where it should apply to the listener: "How many will die? I will die—I, I will say yes" (screaming the "yes", but the rest of the song is sung with a second "in the air" whispered). What happened to Cassie could easily happen to one of us, and what would we say in that event?

There are a few versions to this song. Two main ones, the regular LP one and the EP version referencing another Columbine death, Rachel, as a fellow girl who was shot for her faith that day. There's also an acoustic version of "Cassie" that can be at least listened to online.

The simple music of all the versions well-suits Lacy Mosley's unusual voice, as does the odd tempo of the lyrics.

If you can't handle post-grunge metal, check out the acoustic version of this song, at least. Flyleaf isn't just "good for Christian music", but they're good for their post-grunge genre. If you don't mind the singer's strange vocals, that is.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 9/10

Edited 10/16/07 thanks to Anonymous.

"Tenth Man Down" by Nightwish from Over the Hills and Far Away

"Ulgh!" was my first response to the overall song, with the not-quite-growl, not-quite-singing involved in it. What I did notice was I'd think it pretty if not for that part.

Still, I found myself returning to it every so often, drawn to the militaresque aspect of it. Reading the lyrics further drew me. "Tenth Man Down" embodies a contradiction that I've always thought must plague a number of soldiers: "Obey to kill to save yourself". But what if "This ain't my fight"?

With its violence (and the narrator's longing to die to escape), parents might not want their younger children to listen to this song. ("Today I killed; he was just a boy. The eight before him, I knew them all.") Hell is used as an adjective, and the instant of killing is called "the devil's instant".

Non-children, though, might appreciate the conflict and reminder not to wait "back home" "with eyes turned away." Whether you approve of war or not, at least consider and remember what soldiers sacrifice. The narrator of this song evidently wishes someone would kill him, causing him to be the "Tenth Man Down" after the nine he himself killed.

Taarja Turenen performs on her better end of opera-ish here, and whoever does the growlish singing does a good job expressing the fervent emotion of the soldier as he resents having to live with all those lives on his conscience for others' sakes. I don't like the choice much, but it does well-suit the song. Having the opera voice say "ain't", though, I'm not so sure about.

The music is likewise very on the better end of what I've heard from Nightwish. If you don't like heavy metal or… I'm not sure what… you won't like the song's sound, most likely. But maybe you'll at least appreciate the tasteful mixture.

If you don't like Nightwish, I suggest you at least check out the lyrics, as a non-political reminder of war's horrors in our age of PC avoidance of unpleasant topics unlinked to certain political agendas.

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Lyrics: 4/5
Music: 5/5
Vocal(s): 4/5
Overall: 9/10

"End of All Hope" by Nightwish from Century Child

The title "End of All Hope" sounds familiar, so I click on the song in curiosity. "Is this—the end of—all hope?!" I jerk in my seat, pulse skyrocketing from the hectic beat and clipped chorus. You would think that I'd know to be careful with Nightwish by now. (I promise I won't always review so many Nightwish songs.)

The beat in itself is done as a form of music, with more added. It's unapologetically synthetic in its almost techno declaration of apocalypse. The chorus can be followed without much trouble, but much of the verses of the song is hard to follow from the intentional emphasis.

Nightwish as usual manages to produce lyrics able to give the Christian pause. The narrator has lost innocence and faith, a common premise with what I've heard of Nightwish, and not only from Century Child. The narrator of "End of All Hope" might be suggesting that having "This life unforgiven" "is the birth of all hope", a distinctly unappealing premise. "It will end with a birth" doesn't seem to fit in that, though, so I am again confused.

Beyond that, the lyrics of "End of All Hope" are clean, using metaphor instead of the crass language some artists resort to. Tarja Turunen's operatic voice particularly suits the apocalyptic tone of this compelling song from Century Child.

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Lyrics: 4/5
Music: 4/5
Vocalist(s): 5/5
Overall: 8/10

"She Is My Sin" by Nightwish from Wishmaster

Yikes!

That's the first thought that comes to mind upon hearing the speedy music to "She Is My Sin" by Nightwish, repeated upon hearing Tarja Turunen's classically trained voice more often suited for an opera.

The symphonic power metal combined with the vocalist takes some getting used to, but it's pretty if you can get past the initial shock of hearing them together. Assuming you don't mind metal music or classical vocals, of course—some people find either the music or Tarja Turunen's voice intolerable. It's a combo you'll either love or hate, and their native Finland has decided to love Wishmaster and their other albums.

People struggle to classify the song's genre, since it's so alternative that hearers have rarely, if ever, heard anything comparable. A first impulse is to classify "She Is My Sin" as power metal with gothic and symphonic elments, not quite like Italy's Lacuna Coil (and select songs by Evanescence). The voice of vocalist Tarja Jurunen lead some to term "operatic metal". Furthermore, other genres of music equally influence Nightwish in its music, though I can't strictly identify what besides recognizing there's more there.

The music is striking and memorable, as are the lyrics. On the lyrical note, though, "She Is My Sin" is somewhat disturbing, which seems to be standard from the Nightwish songs I've heard, not all from Wishmaster. "I am the Fallen," admits the narrator. "God, I must confess: I do envy the sinners"? It makes my stomach turn. After a month of thinking about the song, I'm still not sure about it. The "God" is clearly used as if speaking to Him and not as a blaspheme, however.

At any rate, I'm still listening to the song repeatedly despite that, enjoying the haunting imagery in "A sin for him, desire within, a burning veil for the bride too dear for him," after the admission that "In the meadow of sinful thoughts every flower's a perfect one." I wonder if the poignant imagery of "She Is My Sin" is indicative of the rest of Wishmaster?

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Lyrics: 3/5
Music: 4/5
Vocal(s): 5/5
Overall: 7/10

"Ever Dream" by Nightwish from Century Child

Pity I don't know more about music genres; "Ever Dream" is a fun song to classify. It has a definite foundation that I understand as power metal, but above that is something else entirely. It's not just Tarja Turunen's operatic voice that appears again in Century Child, producing a love/hate response in listeners. I'm tempted to call the song "Ever Dream" something comparable to Evanescence's "My Immortal" (band version) meets power metal.

The music to "Ever Dream" is easily among the best I've heard from Nightwish, not that I've heard too many of their songs, but it's certainly better than the music element of even the hit "She Is My Sin". Of the Nightwish songs I've heard so far, "Ever Dream" and "Nemo" rank as my favorites on a purely musical level.

On a lyrical level, however, "Ever Dream" is another story entirely. "Give in for my touch, for my taste, for my lust," Tarja Turunen sings. No, thank you, and I think I'll keep my brother away from you, pretty lady. If "yours I truly wish to be," then why does the narrator seem to be speaking of a one-night fling? Maybe I'm misunderstanding it, but I don't think so. At least it's more oblique than explicit.

Sadly, the "eh" lyrics dramatically lower the quality of an otherwise lovely song.

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Lyrics: 3/5
Music: 5/5
Vocalist(s): 5/5
Overall: 6/10

"Nemo" by Nightwish from Once

Yay for pretty mus—hey, wait…

Did I hear that right? Where's the Replay button? The lovely piano beginning of "Nemo" (Latin for "No One") introduces and accents the heavy metal throughout the song. This single from Once didn't top charts in Finland on day one of its release without cause. Tarja Turunen's classically-trained voice soars with the weirdly pretty heavy metal. (Unfortunately, that piano is the most striking part of the song. The middle is much more ordinary.)

Even disregarding lyrics, this song is probably my favorite by Nightwish. If I could play an instrument, I'd want to learn that piano part of "Nemo." I wouldn't need much more encouragement to buy Once if I had the money, which I sadly don't at the moment. The heavy metal still manages to keep a classic beauty in its heart.

The lyrics of "Nemo" worried me a bit at the beginning, calling the narrator "for forever one of the lost ones," but they ultimately take that premise and have "Nemo" lost in the dark "forevermore". She is fallen, lost and nameless. The way it talks about that is a bit strange, but that seems to be Nightwish. (Or maybe I'm clueless; that's a possibility. I can't understand symbolism.)

I recommend this song to fans of heavy metal or operatic metal; I like the song, and I by far usually prefer the latter to the former.

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Lyrics: 4/5
Music: 4/5
Vocalist(s): 5/5
Overall: 8/10