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Anette Olsson
Serena:
--- Citar ---For those who don’t pick their fruit from the tree of symphonic rock, the first question will likely be ‘who?’, aficionados will be well aware that Ms Olzon is the revered ex-vocalist of Finnish symphonic rockers Nightwish. Now, before those who think the genre somewhat overblown and becoming increasingly moribund switch off, read on – because Shine is, in fact, a rather delightful surprise.
Because while Anette’s symphonic roots are never too far below the surface, she’s taken the genre, captured its essence and then and turned it completely on its head delivering what she describes as a ‘pop rock’ or ‘pop metal’ album.
Pop rock is probably the more apt description because although there’s metal undertones it’s a velvet gloved delivery – the power coming from the subtle use of keyboards, strings and percussion rather than guitars turned up to 11. And the title track is the perfect example – as weighty and hard hitting as John Grant, but with one of the tastiest hooks you’ll hear this year.
And that’s not by chance when you look at the collaborators who’ve contributed to Shine – some of the most successful rock and pop teams in Scandinavia – Anders Bagge, jury member of Sweden’s Idols (and producer of luminaries like Madonna, Cíéline Dion and Jennifer Lopez) and his songwriter team of Stefan í–rn (songwriter and producer of the 2011 Eurovision Song Contest winning track Running Scared) and Johan Glí¶ssner. That’s not to say the album isn’t Olzon’s own work, but she’s been astute enough to bring on board those with the skills to polish her ideas into a set of shimmering gems.
The result is one of the best pop/rock albums you’ll hear this year – one that that has the playfulness of early Kate Bush, the pop sensibilities of Music-era Madonna, and even a vague whiff of Magenta. And, of course, subtle symphonic undertones.
But the centre piece is the Swede’s gossamer-like vocals floated on some sparkling arrangements on a set that Nightwish fans may see that as some sort of ‘sell out’. But in truth it’s a triumph and an album that, that with a little exposure could easily see Anette Olzon usurp her former colleagues’ pop-ularity.
It’s nice to hear someone take a chance with something just a little bit different. And to pull it off with such aplomb. A sure contender for album of the year. *****
Review by Pete Whalley
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Serena:
Serena:
--- Citar ---ANETTE OLZON
Text Janne Mattsson, Photo Patric Ullaeus/Revolver
One day she was in the middle of a successful USA tour. The next, Anette Olzon was sitting in a plane going home to Sweden, thrown out and replaced by another singer. One and a half years after the break with Nightwish, it's time for a solo career.
"It was important to have is i magen. At the same time, I was afraid people would forget about me."
You have stayed out of the spotlight since you and Nightwish went separate ways in the autumn of 2012. Why?
"I needed a timeout" says Anette Olzon. Mine and Nightwish's divorce was pretty hard, something that I was very sad about. I also had a child during that same time, so it wasn't really that strange that I took a little paus."
It isn't so that Nightwish in any way have prevented you from speaking to the press by for example a contract?
"No, absolutely not. I wouldn't sign such a contract. They probably would have wanted me to, but I didn't. But I didn't want to do a bunch of interviews with me just telling about how hard it has been. In an early stage, I felt that it is better to wait with meeting the press until I had finished the album. In that way I can now talk about both parts, both the good and the bad."
What was it that happened with the latest Nightwish DVD "Showtime, Storytime" (2013)? Why did you forbid them from including you in it?
"I didn't think there was any reason for them to have me in it, when they had anyway replaced me with another singer. It just felt pretty silly actually. Also during last year I have gotten so damn much crap from some fans of the band, that I am so much worse than Tarja (Turunen). The same fans have had this "Anette vs Tarja" thing during all these years. Then it would just be an even bigger thing with this DVD: "Here's Anette and now there's Floor Jansen instead". I know that Floor is very loved by the metal fans and I am not stupid. The way we parted ways was also a reason I wasn't so very positive towards the guys in the band. Sure, the said I would get to watch the documentary before, and approve the whole thing, but I didn't really trust them. I was thinking of how they got rid of Tarja. In retrospect it resulted in the pretty ugly documentary "A day before tomorrow" (2006). I did not want that to happen to me. I understand that fans who appreciate my time in the band maybe are disappointed, but on youtube there are many good videos from my time in the band."
When I interviewed keyboardist Tuomas Holopainen in SRM issue 10/2013 he said something different, that you are not enemies and still on good terms.
"Yeah, of course you could say that, and surely it sounds much better than to say that maybe you have behaved a bit badly towards a band member. But that's not true, that is just something that he has made up. The truth is none other than that I was replaced before I had even had time to leave the tour and I haven't spoken to any of them since the day I flew home from USA (Anette's last gig with Nightwish was in Salt Lake City 29th of September 2012). We haven't even made a proper end or said goodbye to each other. All contact has been between our lawyers. I understand why he says that. I had probably done the same in his position, because it doesn't look good when you can't keep your female singers. During my years in the band I did my best to try to get them to communicate and solve conflicts. But their solution is to remove the problems instead of trying to solve them. In the end it was four against one. I wish we could sit down and make an end, sort out what happened and ask forgiveness from each other. I have probably things to ask forgiveness for as well. That it turned out like this... We were after all really good friends once."
What may the problems have been caused by?
"Partly I think it's because we are from two different countries. The cultural differences and language barriers are greater than you could think, which makes the whole thing very difficult. They know very much Swedish, but they absolutely don't want to speak Swedish which means that it's mainly English that's the language. Irony is one thing that can easily be mis interpretated in English, which canmean that things don't flow as easy as they should. Also I think they were a bit traumatized by the thing with Tarja. They were probably a bit insecure of what I would be like and if I would become like Tarja. I on the other hand was very insecure of if I also would get fired. That I was afraid of during all the years. Then when I got my own manager I guess they probably absolutely thought it would be the same thing like with Tarja - which it didn't. But a lot has absolutely been about the communication. Swedish as I am at first I tried to have meetings with them every week but I was the only one talking. With time, it also became clear that I was a little bit older and had children to think about. Some shows I think we shouldn't have done, when we lost instead of earned money from them. Such a big band shouldn't have to lose money. But they thought those gigs could be fun to do, in that they already had really much money in a buffer since before that they could live from. Something I didn't have, I, who basically am just a common worker while Nightwish is a big company. So sure, we had many discussions about money also. If I had entered their company in Finland, maybe it would have been different, but I didn't. Musically however, we didn't have any problems. There the cooperation worked incredibly well."
What will you take with you from the time in Nightwish?
"I got myself very much scene routine by doing such big shows. We did after all play in front of both 60 000 and 70 000 people. Such things undoubtedly give you stage routine. Then, of course also how the music business looks like today - both the positive and the negative. It has made me both tougher and given me more skinn pí¥ ní¤san."
Your debut album "Shine" is neither melodic AOR like Alyson Avenue, which you left 2007, nor bombastic metal like Nightwish, but a lot more muted and cozy. Is this more you?
"I actually think so. I tried to sit down and write speedy songs for "Shine" but I couldn't do it. How I tried, I didn't get it right. Now during the summer I tried to make more metal-ish songs together with Martijn Spierenburg (keyboard, Within Temptation) and Fredrik Berg (keyboard, Bloodbound, Street Talk). I hummed some melodies into Garageband which I then sent to Fredrik, who worked further with them. I also asked them to send ideas to me, so we were passing ideas between each other over the internet. But in the end that material didn't feel as right as the material I already had. Therefore I kept the songs that Stefan, Johan and I wrote already in 2009. But the song "One Million Faces" actually turned out so great that it is on the album anyway."
Who are Stefan and Johan?
"In 2009 I and my manager contacted Anders Bagge. I thought he seemed like a symphatic person, and I have heard he wrote a lot of good music. Stefan í–rn and Johan Glí¶ssner are in his songwriter team. It turned out that we three played and wrote the songs together during a couple of intense weeks. Together we ended up with this softer side that I show on this album. We found a comfortable range that sounded very good and decided to stay there. In Nightwish Tuomas wanted all the time for me to sing in a very high vocal range. In the studio that was never a problem, but live it was incredibly demanding. To sing for 90 minutes was as demanding as a class of physical training. If I was even just a little bit sick, it affected the vocals immediately. That's not how I want it on my album. These songs I'll do justice and perform without problem, even if I have a bit of a cold."
"When I started to plan for a solo album in 2009 it was also very sensitive from the label and the band's point of view whether it would sound too much like Nightwish. The risk existed then that the album would in any way compete witv Nightwish. It could absolutely not be that way. Therefore the music early on took this direction. The idea was that I shoukd be able to sit and sing these songs for example underneath a crystal chandelier in a lounge, more simple and intimate so to say. But now that I'm no longer part of the band, and on my own, it doesn't matter if I compete with them. Therefore there are a little bit more guitars on the album than was intended at first."
During your break, you must have been approached with many offers from other bands and projects?
"Yes, actually I have, and I am very proud. But because I have been in the middle of making a record deal, something that took its time, I couldn't just say yes to anything. It can have been for example requests from competing record companies. There was one thing that I really wanted to do, but when the request came, it wasn't possible. But I hope it will happen in the future. Then there have been a lot of suggestions for things I absolutely didn't want to do. Because I have all the time known that "Shine" would be released, it was important to have is i magen. At the same time I was afraid people would maybe forget me. But judging by the positive reactions to the song "Falling" that the record company early on released on iTunes, things seem to be going well."
If Brother Firetribe were to contact you and ask you to do guest vocals again, how would you react? Considering the guitar player of Nightwish is also in that band.
"I can say like this, even if there were four against one maybe that doesn't have to mean that all four thought the same thing. But sometimes it can be so that you have to look out for yourself and your own being and surviving in the band. Emppu was my very best friend in the band and I have all the time said that I want to talk about things, not pretend like it's raining. I don't hold grudges, everyone should know that. I have moved on and if they contact me, we'll see what happens."
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Serena:
--- Citar ---The much anticipated debut solo album from Anette Olzon is finally here. Of course Anette was previously the lead singer for a little band called Nightwish for two albums and prior to that she fronted the AOR band Alyson Avenue. She started working on this solo album while she was a member of Nightwish, so it has been several years in the making. Not knowing what to expect, I was quite excited when this album came my way having been a fan of her work with Nightwish and Alyson Avenue. Would she continue the musical path set forth by Nightwish or revisit her AOR roots ala Alyson Avenue? The answer is neither. On her debut album “Shineâ€, Anette Olzon presents a more organic, earthy musical direction.
“Like a Show Inside My Head†is first on the agenda and has a classical, symphonic vibe. Next up is the poppish “Shine†which is followed by the haunting “Floatingâ€. The album picks up the pace and tempo for the track “Liesâ€. Other highlights include: “Invincibleâ€, “Hear Me†and “Watching Me From Afar†to name a few.
I wouldn’t really call “Shine†a metal record but it does have energy and passion, it’s just focused in a different direction. Say what you want about Anette Olzon (and people will), but you have to give her credit for doing something different from what fans may expect, and still making it good and a worthwhile listen. And besides that, she’s got a killer voice and that is absolutely reinforced on “Shineâ€.
Rating – 88/100
Tracklist
Like A Show Inside My Head
Shine
Floating
Lies
Invincible
Hear Me
Falling
Moving Away
One Million Faces
Watching Me From Afar
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Samples Shine
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