| Musical Style: Symphonic Power Metal | Produced By: Magnus Karlsson & Anette Olzon |
| Record Label: Frontiers | Country Of Origin: Finland |
| Year Released: 2024 | Artist Website: |
| Tracks: 11 | Rating: 90% |
| Running Time: 52:00 |
What puts the ‘symphonic’ in symphonic metal? Think appreciable keyboard arrangements and orchestral classical music, highly atmospheric songwriting, occasional but not overdone extreme vocals and a soprano female vocalist with an operatic bent. Therion, Epica, Within Tempation and LEAH might rank among the first names that come to mind within the scene, but its most easily identifiable player remains Nightwish.
The Kitee, Finland based act traces to 1996 and founding member’s keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen and classical vocalist Tarja Turunen. With drummer Jukka Nevalainen rounding out its initial lineup, Nightwish released eight albums between 1997 and 2004: Angels Fall First, Oceanborn (with bassist Sami Vänskä), Wishmaster, Century Child (Marko Hietala supplanting Vänskä on bass) and Once. The departure of Turunen, however, opened the door for her replacement Anette Olzon, whom fronted the group’s next two albums, Dark Passion Play (2007) and Imaginaerum (2011).
When Olzon stepped down in 2012, it gave her opportunity to pursue a solo career, with three albums released over the subsequent ten years: Shine (2014), Strong (2021) and Rapture (2024). Each album escalated in terms of symphonic power metal heaviness, with Primal Fear songwriter and guitarist Magnus Karlsson (whom was brought on board starting with Strong) playing no small role in this regard.
It is lyrics, however, that set the Frontiers Records released Rapture apart from reflecting Olzon’s faith with a Christian worldview. It begins with opening cut “Heed The Call” with its take on the Lord’s Prayer:
Our father who art in heaven
Hallowed by thy name
Thy kingdom come
Thy will be done
On Earth as it is in heaven
Give us this day our daily bread
And forgive us our trespass
Musically, it proves one of albums standout tracks (and lead single) in light of its immediately recognizable melody but also factoring symphonic overtures found in layered angelic choirs, Olzon’s expansive soprano delivery and exultant flair throughout.
Albums title track maintains the focus on sublime melody. “Rapture” proves classically influenced, interspersed with Kansas like grand piano as Karlsson shines with his neo-classical guitar sensibilities (sort of like Carl Johan Grimmark of Narnia) and periodic extreme vocals lend an aggressive element. This is one of several songs reminding of Divinefire. Lyric snippet:
As four winds clear the dark
With every trumpet roar
The dead will rise again
To be judged at heaven’s door
The world will come to end
Thy kingdoms crumble down
In rapture we´ll ascend
In grace of heavens crown
The cloud like opening to “Day Of Wrath” soon morphs into a storm of fury. With double kick drum and ample extreme vocals leading the way, song separates as one of albums heaviest in punching forward with near thrash like intensity but also does not back from the catchy hook emphasis as found in the relentless but immediate refrain.
“Requiem” elevates the symphonic nuances. Song dances its span to periodic choirs with a Latin flair, the stately resonance upheld in terms of an AOR-ish flair pointing to the commercial, albeit also staying true to the abject heaviness to characterize. The searing lead guitar again brings to mind Carl Grimmark. Lyric snippet:
Requiem aeternam dona eis domine
Grant them eternal rest lord may they come to peace
Requiem aeternam dona eis domine
As I lay me to my rest
Don't let me be lost in that day
Forgive all sins I may have done for I regret them all
Lord embrace me let me walk by your side
Take me in
The atmospheric keyboards and floating melodies at the start of “Arise” hint of LEAH. A growled scream and stomping guitars ensue thereafter and we are off, with the song executing a lofty storm as artists stretches and reveals the stately range to her delivery and dignified focus to the refrain points to Theocracy. Added aggression manifests in Anders Kollerfors double kick drum. Lyric snippet:
Arise
It is time to change our ways
From now till the end of days
One day is still one day too late
Atone
There's no time to hide in shame
We will all be judged the same
A single match to start the flame
If I were to rate one song a notch below albums remaining material, it would be “Take A Stand”. No, by no means bad and far from filler, but due to not finding the song memorable as some from being somewhat straightforward in terms of songwriting - not to mention extreme vocals are emphasized a bit much for my taste - I tend to pass.
“Cast Evil Out” gets things back on track. It hints of the ballad-like to start with piano and orchestration only to launch at once in upbeat form, not approaching a speed basis but expeditious all the same manifest in the bounding verse sections and silky smooth refrain racing at a dashing clip. Song only lets up for the classically tinged baroque-ish pre chorus. Lyric snippet:
Revealed through dreams and visions
Angels showed its wisdom
Voices loud from trumpets
Sounding loud from heaven
Keep your faith don't falter
Loyalties rewarded
Crown of life
Will be paid
“Greedy World” is also top of the line. I take to manner in which songs title repeats in cinematic fashion from the start to see bulky guitars crunch in the back end, a galloping mentality maintained throughout as intricate overtures and distant orchestration play accenting roles. Another impressive instrumental run highlights added neo-classical lead guitar.
Album lone ballad “Here My Song” is a good one with sublime keyboards and atmospheric resonances aligning with the angelic vocals to prevail. Two minutes in pace picks up as distinct rhythm guitar settles in to approach metal ballad territory. LEAH could not do it better. Lyric snippet:
When the star shines bright
Know it´s me
I´m here always
No need for your fear
Close your eyes
Hear my voice
I´m calling you
From a world beyond
Where the light never ends
Hear my song
“Held Up High” separates with its lofty choir vocals - we’ll stay strong, we won’t bend for no one, we’ll stay strong, let it fall - which set the uplifting and inspiring tone compelling songs length. Yet, an aggressive element also appears found in the classic metal style riffing and choice use of backing growled vocals. Divinefire again is a point of reference.
Closing the album is melodic power metal masterpiece “We Search For Peace”. Melodic is the key word, noting the immediately perceptible refrain and palpable low end to entice with repeat action. The wondrous vocal melodies prove every bit key in terms of he accessible tinges to impart. Lyric snippet:
In the midst of chaos
A prayer we send
We search for peace
A hope to restore
We search for peace
A prayer we're sending out
We are the light
Give us a way back
Free us from this hell
We've been in for long
Third Anette Olzon solo album Rapture is a strong contender to rank within the top five albums of the year. It proves front to back consistent when factoring not just songwriting (noting the strong melodies that cannot help but draw in) but also band performance as artist shines with her soaring vocal bent as do cohorts Karlsson and Kofferfors when factoring musicianship. Production follows suite. Faith based lyrics prove every bit crucial in helping the album to stand apart. Fans of symphonic metal and power metal in its various forms would be well served to make Rapture a priority purchase.
Review by Andrew Rockwell
Track Listing: “Heed The Call” (4:57), “Rapture” (4:58), “Day Of Wrath” (4:37), “Requiem” (4:15), “Arise” (5:20), “Take A Stand” (3:57), “Cast Evil Out” (5:01), “Greedy World” (4:52), “Hear My Song” (4:49), “Held Up High” (5:03), “We Search For Peace” (4:06)
Musicians
Anette Olzon- Lead Vocals
Magnus Karlsson- Guitars, Bass & Keyboards
Anders Köllerfors - Drums
Johan Husgafvel - Growls
