TARJA

When Tarja Turunen was abruptly excised from NIGHTWISH in the autumn of 2005, some miserable cynics posited that her future was likely to be spent working within a different musical discipline. Fortunately, the assumption that the insanely talented Finn would retreat to her classical roots and abandon metal altogether turned out to be abject horseshit. Over the last 21 years, Tarja has proved herself fully committed to heavy music and has established herself as a convincing solo artist ten times over. Few would dispute that the five albums she made with her former band are still some of her best loved works, but the nine studio albums she has released since 2006 have consistently proved her commitment to metal. Once again, with "Frisson Noir", Tarja is where she belongs, bringing her extraordinary vocal gifts to bear on another diverse selection of grandiose, symphonic and subtly theatrical anthems. She is, as one listen will confirm, really enjoying herself.

"Frisson Noir" is an album that boasts multiple big-name collaborations, and it is those songs that will doubtless receive the most attention. But in every respect, this is an album that further solidifies her identity as one of metal's most distinctive and recognizable voices. An opening trilogy of songs — "Frisson Noir", "The Eternal Return" and "Leap Of Faith", the latter featuring a genuinely touching reunion with ex-NIGHTWISH colleague Marko Hietala — nails the style and atmosphere of her solo career to date. Backdrops are full-on and formidable, with big riffs and lashings of additional opulence, and bittersweet melodies are hurled into the ether with utmost skill. Everything sounds vast and flawless, and Tarja herself sounds more engaged with the material than ever before.

But there is much more going on here than classy new takes on a familiar formula. In particular, "At Sea" is a centerpiece that expands Tarja's trademark sound into more adventurous realms: a ten-minute epic with a stunning, instrumental mid-section that wears its progressive intent like a badge of honor, it may be the pinnacle of her solo career to date. Similarly, "Blaze Forever" is an absolute gem, and one of the heaviest and darkest songs that Tarja has ever sung. The blend of crunching metal guitars and the singer's multi-layered operatic vocals is still thrilling after all this time, and seldom has it been employed with such verve.

But yes, the guest appearances are of a very high caliber and are also important when it comes to reasserting Tarja's metal world membership. "Tango" features fellow countrymen APOCALYPTICA weaving their usual magic on a charming blend of prog metal songcraft and refined pop sensibilities that edges towards the overwrought thrills of a big, bombastic power ballad, replete with miraculous violin solo. Even more entertaining is "I Don't Care", wherein the queen of symphonic splendor joins forces with the screeching, demonic presence of Dani Filth. It is a match made in heaven / hell, and arguably the most inspired team-up of Tarja's career so far. As always, Dani is having the time of his life underscoring the singer's mellifluous high notes with a sinister snarl, and the song itself is considerably more rugged and hard-edged than expected. In contrast, RED HOT CHILI PEPPERS drummer Chad Smith does his thing on the beautifully morose "Against The Odds", but without doing anything that immediately screams out "It's the CHILI PEPPERS dude!" (which is, perhaps, the point). Either way, it is another highlight on an album that brings the best out of everyone involved. Tarja has rarely sounded so immersed in her own musical world, and those miserable cynics who thought she would swiftly depart to sing opera for non-metal folks are looking even sillier than before. She is one of us, and "Frisson Noir" is an excellent way to prove it.