Former NIGHTWISH singer Tarja Turunen makes to fans of heavy music a mixed reaction. Some love her to the point of exhaustion and are ready to purchase any releases of diva, and she produces a lot of things. Others constantly reminded of NIGHTWISH, comparing her solo career with a new opus of the famous group, where she came from. But most I think just hates Tarja Turunen, and any activity irritates fans of heavy music incredibly.
The main mistake of fans of heavy music in the assessment of creativity Tarja is that they listen to albums of the singer as if dealing with metal. The very same Finnish singer just flirts with heavy guitars, but songs do not belong to heavy music. It is rather a big plus for Tarja as a creative person. Really, the easiest it would be to just play something in the vein of early NIGHTWISH with a simple light guitars, operatic vocals and jaded symphony samples. It would be the shortest way to the heart of a fan of NIGHTWISH, who are the main target audience of this project. Instead, Tarja Turunen always something comes up, tries to use a non-standard approach, invites producers, arrangers.
In this also lies the root of dissatisfaction with the work of the singer. After all, she is not a genius and sometimes her ambitious projects a little puzzling. All these weird mini-albums with the "remixes", the endless Christmas and classical albums, designer suits. Perhaps there's a reason for some smiles, but to be angry is not worth it. The team under the leadership of Tarja Turunen first of all trying to create something original at the junction of rock music, pop music and classical music, and sometimes she manages to touch the strings of the soul. Turning to the new album "The Shadow Self", pay attention to a number of very good and interesting songs on the album. For example, opener "Innocence" with a great melody and a beautiful piano, or a cover of MUSE's "Supremacy". Great Duo with the singer of ARCH ENEMY Alissa White-Gluz in "Demons In You", some really heavy tracks. In fairness, I note that at the end of "The Shadow Self" it turns into one long ballad, and for the whole album creativeness of TARJA is clearly not enough.
It is seen that the TARJA albums are created for example of the classic rock albums of the 80s, when every track was memorable and had a separate story. Yes, there were failures, but the band and their producers had set themselves the task to remember the hits and offer songs with its own face. Most often we deal in our day with albums consisting of a set of identical tracks merging into one big song. "The Shadow Self" is not such album, at least in its first half.