![](https://metalitalia.com/wp-content/uploads/2024/02/anette-olzon-rapture-2024-500x500.jpg)
![](https://metalitalia.com/wp-content/uploads/2024/02/anette-olzon-rapture-2024-500x500.jpg)
vote
6.5
- Bands:
ANETTE OLZON - Duration: 00:52:00
- Available from: 10/05/2024
- Label:
-
Frontiers
Streaming not yet available
Everyone remembers Anette Olzon mainly for her stint in Nightwish – which lasted a couple of releases, from 2007 to 2012 – but the Swedish singer can now boast several publications released under her name, starting well before her entry into the well-known Finnish band and continuing in the recent times with numerous collaborations with the Neapolitan label Frontiers Records, which has involved Olzon in various projects, starting with The Dark Element in the company of guitarist Jani Liimatainen (ex Sonata Arctica), duetting with the well-known American singer of Symphony under the monicker Allen/Olzon and finally with some solo works, alongside the talent of the Swedish songwriter Magnus Karlsson.
This “Rapture” is the third chapter therefore which bears the writing Anette Olzon very clearly within the artwork. And the sounds of this work are decidedly more epic and symphonic than in the past, thanks to the use of a mountain of choirs that explode decisively in practically every song. Furthermore, the guitars seem to become even more incisive than in the past, showing some decidedly powerful passages. All this fits very well into a sound that moves on clear melodic metal foundations, inserting influences that at times look towards power, but also throwing various glances at melodic death and gothic metal.
The energetic opener “Heed The Call” is a nice example of the sonic charge that this album manages to convey from an instrumental point of view and how this binds (at times) well with the often airy melodies sung by the sweet voice of the talented Anette . Some reminiscences towards loved ones, but not too much, Nightwish arrives with “Rapture”, thanks to its melodic impact typical of a single that wants to immediately impress the listener, but which – in this case – is also a little obvious. And if at times Johan Husgafvel's growl voice appears to intertwine with Olzon's angelic one, giving emphasis and finding a good balance – as happens during the vigorous “Day Of Wrath” and in the aggressive start of “Take A Stand” – the a classic example of the philosophy followed in this work comes with “Requiem”, a piece which instead abounds in choirs and orchestrations, at times not so spontaneous but which certainly make a good contribution to raising the sonic impact of some pieces, as happens a little further on there with the power song “Greedy World”.
Finally, the symphonic ballad “Hear My Song” is certainly among the moments that remain most impressed, also because, even if it doesn't seem like a miracle, it at least slightly changes a formula that is otherwise repeated too often – with choirs, orchestrations and growl vocals, as described above; a formula that also involves the subsequent “Head Up High” and “We Search For Peace”, which close the tracklist and risk being a little boring.
“Rapture”, in summary, is a more bombastic album than its predecessor, primarily due to the massive use of imposing orchestrations and choirs within a typically Nordic sound; listening goes smoothly, but the repertoire isn't always as genuine and inspired as possible.
Daniel D`Amico for SANREMO.FM