Tarja Turunen – The Brightest Void Review
Tarja Turunen needs no introduction for fans of metal, and more specifically, of symphonic metal. I have to tell you that I am a big fan of Tarja and I love her music, but that only makes me be even more critical, to expect better and to want her to be better.
We have known for a while that she was supposed to release an album this summer, but she took us all by surprise, in her characteristic style, by announcing a prequel to her album. What does that mean exactly?
Tarja explains : “Surprise, surprise! I genuinely hope that ‘The Brightest Void’ is a pleasant surprise to each and every one of you. During the long process of recording the songs for my new studio album ‘The Shadow Self’, I realised that there were so many tracks, too many too dear to me, for just one album. So this time I decided to keep nothing for myself and to share all my favourite new songs with you, the fans, who have shown such passionate and constant support. ‘The Brightest Void’ gives more than a first taste of ‘The Shadow Self’; it is a full album filled with 9 songs! I am sure that everyone will immediately discover how much ‘The Brightest Void’ and ‘The Shadow Self’ are entwined with each other but, at the same time, are two independent records which stand on their own. I hope the release of the prequel sweetens the wait until August and that you will like the songs as much as I do. I will present songs from both albums already in summer festivals and in my headliner tour later this year.
The tracklist is definitely a diverse one, but one which promises a lot. The opening song, No Bitter End needs no introduction, as she has released a video of it, which you should definitely see if you haven’t already.
Heaven and Hell is a duet with fellow Finnish star Michael Monroe, icon of the glam rock scene. It starts as hard rock, but with a quick intervention by Tarja to remember who she is. Michael’s voice is definitely something interesting and unlike what Tarja’s works has had before, rough and gutural. The tempo is unbelievably fast for what we expect from her and their voices work really great together. Tarja reaches some very high notes, which contrast with Michael’s grave voice. The middle of the song brings a slower intermission, a more melancholic and soulful part, which instantly turns back into the fast-tuned song we first encountered. I am sure there are people who will find the chorus magnificent, though the words are a bit hard to understand. It might be a bit messy, but a good balance of hard rock, symphonic, operatic and even some almost jazz parts.
Eagle Eye is a softer song, being able to hear the drums (by Chad Smith) more clearly. The rhythm stays the same throughout the song, being there to keep the song just „metal” enough. We can also find some surprising vocals from Toni Turunen, Tarja’s brother. „Over the land that we have seen where the wind swept our hearts clean. When we have burnt so deep within rest the ashes then begin… Eagle eye!” It’s a level up in composition.
An Empty Dream is again a song that doesn’t need much introduction, as it has already been released as it has been part of the soundtrack of the Argentinian movie Corazón Muerto. You can watch its music video here. It’s a not a song you might be a fan of instantly, but it is good, with clean vocals, many different electronic sound effects and quite a creepy feeling here and there.
Witch Hunt is a song that has been adamantly requested by to be recorded after Tarja played it in her classical concerts. VIDEO It showcases the more classical part of Tarja’s voice, while giving it a more modern instrumental. It’s a song that needs to be properly listened to and appreciated. It will give goosebumps to many fans.
Shameles is one of the least symphonic songs here. The vocals are high pitched and truly showing her operatic side, while keeping a simple, classic beat. The instrumental is noisy and in your face, but it compensates with her great voice. It’s a fun song you can jam to, but not one to top charts.
House of Wax is a cover by the eponymous song by Paul McCartney, an overlooked gem. The soft sound and orchestration work perfectly with her voice. Tarja’s voice makes the song seem a lot warmer the original, with the slow pace creating such an atmospheric sound. While every here and there you hear her characteristic high notes, the general pitch of the song is a lower one. It almost makes you wonder if she would go even lower and harsher in the future.
Goldfinger is the well-known main theme of James Bond, with a special twist. You might have heard the song live if you had followed her rock tours. If not, you can go look for a live recording. The instrumental is sometimes overshadowed by Tarja’s strong vocals. I do like that the complex orchestration keep the rhythm but gives the song a more modern look. Bond music is almost a genre in itself and Tarja can make it work. It’s all so theatrical. The ending of the song has Tarja belting and keeping that high note like there’s no tomorrow.
Paradise (What About Us) [Tarja Mix] is just a new take on the song by Within Temptation. I don’t usually enjoy mixes and remixes but I can say that the one really good thing about this version is that we can hear Sharon and Tarja more clearly. That was my only problem with the original, that their voices were not as present and powerful as I would have wished, with Tarja being hard to hear some times. Still, I think enjoy the WT song more. I like that original band sound, where the voice fits like a piece in a puzzle. I do enjoy hearing more of Tarja and of her and Sharon together. As a last difference, the final solo in this version is Tarja’s and not Sharon’s.
Overall, this is exactly what was promised, a taste for her future album. It shows us what Tarja now sounds like, what she wants to express. It’s diverse, it brings new things. It’s a clear statement of who she is as an artist, and it might be in your face, take it or leave it. She knows who she is and you should get behind her. It’s the logical step after CITD for her, it’s her transition to hard/classicl rock + operatic vocals. Don’t expect symphonies, choirs, orchestras. It’s as far as she has ever been from symphonic metal. Don’t expect what Tarja has done in her past. She is done with that and she is here to show you what she’s about. Having found her sound, her voice, her very own box in which to define her music, she will stick with it. Needless to say, her voice is stellar as ever.
You should give more listens to the album. Take it, listen to it, come back to it. And after that, share your opinion. Discuss. Share. Connect. And watch out for The Shadow Self
