In its entirety, clearly divergent, but very interesting and rewarding followers

Three years after the successful and very positive received by critics "What Lies Beneath" is now available the new work of the Finnish soprano Tarja Turunen. In terms of instrumentation, it is very similar to its predecessor. Accordingly, metal guitars play a significant role, whereas orchestra deposits withdraw quite strong.

Exists with regard to the instrumentation similarity indicates a review of the track list and a look at the respective seasons on a significantly altered concept. And indeed: In his conception, the micro and macro structure differs "Colours in the Dark" greatly from its predecessor from. The items are less catchy melodic and generate a total of much gloom. Immediately the absence falls clearly positive effect on tuned title. At the same time these are different small-scale and daring - structured. Is to capture "What lies beneath" problems as a Gesamtkunstwerk, one can say that about "Colours in the Dark" at least not immediately. For the album is near the boundary between work of art and a collage of several partially extremely strong pieces that appear to be related to each other only by their dark mood and a similar instrumentation. It is interesting in this context that most titles are indeed built up quite conventionally (chorus-verse-chorus-interlude-chorus-outro), but this is partly heavily obscured by Büche in instrumentation and tempo. The inaccessibility is supported by the texts, which are overall significantly more abstract than the predecessors, which often very clear statements and stories are recited. Finally, the melody appears much less "popular", but strongly oriented towards film music.

The first single decoupled opener "Victim of Ritual" is the only up-tempo number, an impressive combination of beautiful melody, powerful instrumentation and rousing vocals and unites in a dignified manner artistic standards with faster accessibility. And just the accessibility lifts the title clearly from his followers. He is also the only one who can be compared as a whole with those of its predecessor. I see honestly some problems for the selection of a second single because the concepts of most of the songs for the radio appear to me difficult.
"500 letters" leads the strengths of the opener continued at a slower pace and a different mood, but seems a bit conventional. Nevertheless, a very successful title with an equally clear as interpretationsfähigem text. Who could refer to?

The ensuing "Lucid Dreamer" is a real killer. The first title of this small-scale microstructure which characterizes the whole album. The chorus is melodic incredibly beautiful, while Mrs. Turunen gives the dish with her voice work in a kind of vitality that it leaves me speechless. Add to this the very interesting subdivision comes into sections. Verses and chorus vary widely and are complementary but perfect. The interlude could initially long, irritating and inappropriate act, but unfolds a special appeal and meets the here very important function of our breath from the final sprint.

By contrast, "Never enough" appears clearly conventional again. And also much weaker. Especially the melody seems uncharacteristically back strong. The title is, significantly increased his pace, but although atmospheric and elegant, will end up by the wrong sounding several times repetitive guitar motif a bit annoying.

The following "Mystique voyage" initiated with some spoken word groups. Interesting to hear the speaking voice woman Turunen on a studio album. What follows is another highly evocative title which, although quite far from conventional habits, very catchy and melodic is exceptionally beautiful. In its entirety, it differs greatly from predecessors and successors and acts considerably longer than it already is.

The Peter-Gabriel cover "Darkness" features an elaborate exchange of two very different motives. The first is carried forward with a type of fast-Chanting, depressed and threatening the other acts with the softer rock voice light, soft and hopeful. Dark fire and cool, lighter relaxation. The contrast between the first and louder quieter second half is very interesting in itself, but also acts as a start for what comes now.

"Deliverance" is one long, epic climax. Melodic extraordinarily beautiful and for a change, largely dominated by the orchestra. Mrs Turunen's voice control is impressive and delivers the massive instrumentation a worthy adversary. A truly awe-inspiring title that also acts many times longer than it actually is. In terms of design as well as its importance for the album overall I feel at the magnificent "Ghost Love Score" recalls.

Unfortunately, the followers do not consider this extremely high quality. "Never Light" increases the tempo, celebrates with pretty hard Gitarrenrifts a raw elegance and is quite very atmospheric, but appears relatively weak in terms of melody like "Never enough".

By contrast, "Until Silence" is much stronger. As the only title of the album he spread peace and sensuality that is relativized only towards the end by increasing the instrument insert something. Piano and strings dominate, while skillfully woven electronic sounds in the background make for a strong spherical impression. Beautifully, but despite his qualities and a reconciliation to the last act.

"Medusa" seems to celebrate Endzeitstimmung. With regard to melody and the resulting mood is a reference to "Crimson Deep" urges. Where this bill yet to be themselves excellently on the way to the border, I would think that "Medusa" it happened. Here stands again the skilful subdivision into sections produced, which makes the melodically very beautiful title extremely exciting. The voice of the singer will appear as its performance adequately. Only in a few moments and sing Turunen Furstenfeld together, or rather at the same time. In my ears go and make your way into nothingness not common, but every man for himself. A truly sublime degree.

In its entirety, appears "Colours in the Dark" darker, slightly faster, but especially variable, daring, and not least more interesting than its two predecessors. The significantly different melodies, the small-scale structure with some unusual detailing and lower overall catchiness might create confusion. Overall, the songs demand a great deal more attention ... when it was still on the predecessors of the case because the melodies were not only very beautiful but also fast catchy. But if you are able to apply this attention, reveals "Colours in the dark" as a work of exceptional beauty that surpasses its predecessors in many ways. Mrs Turunen has been able to continue their artistic development in an impressive manner. Perhaps the title of the small and delicacy of Lieder as well as album structure is derived. Because actually act the individual songs in themselves and interact with one another in front of a very colorful dark background. For me, it would have great appeal when some songs, such as would, exclusively presented as additions to upcoming singles in orchestral instrumentation.

Anyway: from me a clear, urgent recommendation.

4.75 stars