ANNEKE VAN GIERSBERGEN

There are few female singers who have so much confidence in their own ability that they will happily collaborate with Floor Jansen, but Anneke has been at the very top of her field for a great many years now and here she is back with her 23rd album. I first came across her more than 20 years ago when she was fronting The Gathering, and since her departure in 2007 she has been much in demand for projects with the likes of Arjen Lucassen, while there is no doubt that whenever she performs with Devin Townsend, she totally transforms his performance. In 2018, Anneke began working on new material for her metal band, Vuur. Although their debut album, 'In This Moment We Are Free - Cities', was met with a mixed reception, fans were warming up to their heavy, progressive sound and it was expected that a quick follow-up would establish them in the market. However, Anneke had financed the debut album and consequent tour herself, which meant that another album would be taking on more risk, and at the same time it appeared that her marriage was collapsing.

She decided to get away from it all, rented a small house, and concentrated on writing and recording a solo album which was going to be incredibly personal and allow her a way of working through what was going on in her life. At the end of the process, Anneke and her husband now feel they are stronger than ever, and musically the result is something I never really to hear from her. This is an acoustic record, with Anneke being joined by additional musicians, but each song is very different, all brought together by the wonderful vocals. I have loved her pure voice for more than 20 years, and often she is fronting something incredibly heavy or complex, cutting through the maelstrom, yet here she is working with lightness. The highlight is the emotional "Losing You", with harp and harmony vocals combining with percussion and Anneke singing directly, yet with passion and care. Contrast that to "Survive" which is far more upbeat, and one can hear how this could be transformed with electric guitars and turned into a metallic monster.

There is a great deal of variety on the album, showing that one does not need amplification and brashness to create dynamics, and that wonderful vocals and great songs will always stand out, whatever the accompaniment. I view this album as a detour on the journey she has been taking, and it is unlikely she will continue down this route but is something she needed to do and is one I have thoroughly enjoyed. Will her next album be with Vuur, or a new project altogether, or another album like one, or a collaboration? Only time will tell, but this is a glorious album and one to which I will often be returning.

Anneke van Giersbergen is one of the most beloved female vocalists in metal. Her stints with The Gathering, Ayreon and Devin Townsend have earned her accolades from different corners of the metal universe, and her work with VUUR and The Gentle Storm have consolidated her status of a symphonic prog metal goddess. Throughout her career, Anneke has also released a stream of atmospheric pop/rock albums, both under her own name and under the moniker Agua de Annique. The Darkest Skies Are the Brightest follows in the footsteps of these previous solo releases. It is a largely acoustic, atmospheric record that toys with a host of different genres, including pop, folk, alternative rock, country and jazz. The metallic content of the album is essentially non-existent, but The Darkest Skies Are the Brightest may nevertheless appeal to readers who have appreciated the more atmospheric rock-oriented releases by The Gathering (If_Then_Else, Souvenirs) as well as Anneke's previous solo records.

The album's background lies in the difficult times Anneke went through in 2018 when her long-lasting marriage with Rob Snijders risked to break down. Anneke turned to the healing power of music to weather these times of crisis, and the eleven songs of The Darkest Skies Are the Brightest are the outcome. The mood of the album is inevitably somber and reflective, but the songs are also pervaded by an infectious sense of optimism and hope for the future, a contrast that is well expressed by the oxymoronic album title. It is a powerful reminder that there is always a calm after the storm and that it is in the darkest times that we often find our greatest strengths.

Musically, the album is centered around Anneke's extraordinary voice. Her style is unique and she is one of those rare metal singers who can be instantly recognized after listening to just a couple of notes she sings. Her voice is warm, lush and expressive and her range is still impressive today as it was on those early The Gathering albums. If anything, with age Anneke has gained even more expressivity and control of her talent, and The Darkest Skies Are the Brightest finds her at her most mature and nuanced. Her performance on the album is nothing short of exhilarating, as she comfortably juggles between sinister low-register singing, otherworldly harmonized vocalizations, and cathartic, full-blown singing.

Even if Anneke's voice is undoubtedly the driving force behind the album, there is substance and quality in the music that goes well beyond the mere accompaniment. Guitarist / producer Gijs Coolen deserves tons of credit for weaving ever so interesting guitar lines throughout the album, displaying a dazzling variety of playing styles and techniques. A string quartet adds sophisticated symphonic touches to "Agape", "My Promise", "The End" and "Love You Like I Love You", while Coos Zwagerman lends his expressive trumpet to the finale of "Hurricane".

These rich and sophisticated arrangements, coupled with the variety of styles covered across the album's eleven songs, are the biggest strength of this release. It might have been tempting for Anneke to fill the record with plenty of slow acoustic ballads that would prove easy ground to showcase her vocal talents. Fortunately Anneke is an accomplished singer-songwriter who knows better than this. Stomping anthems like the country-tinged "Hurricane", the post-rockish "I Saw a Car" and the bluesy "Lo and Behold" possess an electric bite that elevates the music well above what one may expect to find in an otherwise largely acoustic album. Elsewhere, opening track "Agape", "My Promise" and "The Soul Knows" may move in more traditional folk / singer-songwriter territories, but they are no less beautiful and do not lack elements of surprise (the Eastern-tinged, dramatic violin dissonances on "My Promise").

Admittedly, the album loses some steam in the second half, where the overabundance of acoustic, atmospheric pieces slows things down somewhat excessively, giving the record a slightly unbalanced feel after the incredible fireworks of its opening five tracks (from "Agape" to "The Soul Knows"). However, there are elements of redemption in later tracks too, especially in the tribal rhythms of "Keep It Simple", the magniloquent dramatics of "Lo and Behold" and the lively up-tempo of "Survive".

All in all, The Darkest Skies Are the Brightest is a strong return to form for Anneke, after the somewhat mixed reception to her latest solo release (the bland debut album of her prog metal project VUUR). The Darkest Skies Are the Brightest does not have any metallic edge whatsoever, so it remains to be seen whether Anneke will be able to channel her newly found songwriting verve into heavier material. But while we wait for an answer, this new release is a more than welcome return to the spotlight for Anneke, which fans of her previous work would better make sure not to miss.

[Originally published on The Metal Observer]

The Netherlands have delivered quite a bunch of female vocalists to the symphonic and gothic metal genres. Anneke van Giersbergen is perhaps its most celebrated veteran, with important vocal contributions to The Gathering, Vuur, Devin Townsend Project and Ayreon (and related projects). Her solo-career is perhaps less known, but this live recording justifies a change in that regard. Beforehand, let me admit I don't like any of these particular groups and I didn't own or know a single song on this live recording.

On this 2LP Van Giersbergen is accompanied not by a (rock)band, but by the Dutch Residentie Orchestra. Songs art taken from The Gathering, Vuur, The Gentle Storm, her solo output and there's a classical piece by 17th century composer H. Purcell. All rearranged for classical orchestra - and I must say I'm quite surprised how these 'guilty pleasure' styled sympho-metal pieces are turned into quite lively symphonic pieces. For me listening to these type of arrangements is nothing too engaging. It sometimes reminds me of the early Scott Walker albums (please add this artist to PA!) or the barock pop of the late sixties, such as the great Judie Collins. To keep the beat alive the strings frequently play those staccato pulsing patterns I love so much in the modern classical music of John Adams. Making the arrangement as harmonically engaging as Adams' would have done much good here; but that to much to ask for rock/symphony crossover like this.

As it stands, these are often well conceived arrangements with beautiful harmonies, but let's admit it: the main reason these recordings are as good as they are is because they make way for Giersbergen's beautiful voice! Van Giersbergen is blessed with a voice that allows for restraint without ever loosing its potency to cut through mixes like butter. She doesn't have to do particularly much to impress, just the fullness of her voice and her personal timbre will elevate even the simplest melodies. This makes for an ever relaxing, yet exciting listening experience that makes you listen to the double LP in one spin. Most of these songs have these particular moment of beautiful melancholy and I can't image why this record shouldn't be among the higher rated live album on progarchives or any other rating site. My rating is four stars, I'm glad that as an admirer of her voice I finally found an album I like.

There has never been any doubt in my mind that Anneke is one of the most exciting singers around, and although many will point to her many years of fronting TheGathering as the main example, I would much rather point to the impact she had on Devin Townsend's 'The Retinal Circus'. When she is involved with Devin she transforms his material, so much so that when I saw him play with just his band a few years ago I was incredibly disappointed as it felt quite one-dimensional in comparison. In May 2018, Anneke (VUUR, Devin Townsend Project, TheGathering) performed two career-spanning concerts with orchestral arrangements together with Residentie Orkest The Hague, allowing her to perform some of her material in a manner which was quite different to one may expect.

Of the eleven songs on offer it is perhaps surprising that only three are from the thirteen years she spent fronting The Gathering, but she has taken the opportunity to push herself in quite different ways. The most unexpected offering is that of Henry Purcell's aria "When I am Laid In Earth" which features not only the orchestra but accompaniment from a harpsichord. Here Anneke shows she is not only a rock singer, but a professional trained soprano who can perform classical music with the best of them. Given that my mother was also a professional trained singer, it is an artform I have appreciated almost as long as I have been able to listen, and Anneke here carries it off with aplomb. Here is a singer who is at home fronting an orchestra, even performing classical arias, as she is with coping with the intense wall of sound which is the mania of Devin Townsend, and nothing phases her.

My only real issue with the album is that it should have been a double CD, as I can't believe this is a full set list and I would have loved to have heard a complete gig instead of just highlights. She hits the notes with ease, displaying control and power, with a confidence from knowing she will always shine no matter what the musical accompaniment. Yet another superb release from one of Holland's very finest.

Maybe this is not a progressive album, but there is a lot of beautiful and inspired songs. I have seen Anneke four times live, and i feel she is the most incredible singer in the world (male and female). She has the power to capture eyes, hearts and soul of a complete theater of stadium in any place in the world. The álbum has great musicians, and moves between ballads and rock. This solist career let Anneke to express all her feelings and talent, and show the power of her voice. The song "Circles" is the best example of her perfection. Four Stars.

Although the name may not be immediately recognisable to all, Anneke has incredibly strong credentials in the music scene having fronted The Gathering for 13 years. It was as long ago as 2007 that she decided that it was time for her to do somethjing a little different and with her new band Agua de Annique she established herself as a solo artist, releasing several albums to critical and popular acclaim. She also found time to collaborate with some of her long-time friends and musical peers, lending her honey-sweet, yet powerful voice to the likes of Anathema ('Falling Deeper'), Devin Townsend ('Addicted!', 'Epicloud') and fellow Dutchmen Within Temptation ('Black Symphony'). Her last album, 'Everything is Changing' was the first to be released solely under her own name and was nominated for two Edison awards ? Holland's most prestigious music prize ? in the categories 'Best Female Artist' and 'Best Album'. It turned out to be a major success, so it was interesting to be faced with the new album to see what this one was like.

Although I have some albums by The Gathering, I hadn't caught up with Anneke's solo work and the first time I played this I really wasn't too sure. While her vocals are as pure and clear as ever, with a wonderful melodic lilt and catch, wasn't this just a little too commercial? Now, for one reason or another (mostly my disorganisation combined with a business trip to the US), it has taken me a while to get to writing about this album so I have been playing it quite a lot more than I usually would, and I am really glad that I did as my view has changed considerably.

Whereas before I felt it was too commercial and designed for radio play, now it feels much more like the perfect marriage of rock and pop with some progressive elements. This is not something that can just easily be dismissed, and if Kate Bush was to release an album with some symphinc metal elements then it may just come across like this. Anneke's vocals are just wonderful, and she knows how to hit notes and stay on them, riding the melodic wave and while she allows her touring band to have plenty of impact she is very much the centre of proceedings. It is hard to pick a favourite, as the more I have played this the better it has got and whatever is playing is the one I like best. Definietly worth investigating

The promise of a new album, with significant changes and maturation have been published about "Anneke Van Giersbergen" now without the band "Agua de Annique."

12 songs written by "Anneke", "Daniel Cardoso" and "Rene Merkelbach." I confess I had never heard of the other two, but I began to hear the whole album.

The songs are beautiful in their arrangements and composition, the voice of "Anneke" is a morning breeze. In the first moment I could not identify sufficient evidence to confirm this change both promoted.

A slightly electronic sound on some songs, as in "I Wake Up" and "My Boy".

The cover with a more sensual than any other cover released by it.

The lyrics of "Feel Alive" shows a change from her first job, when there was still the band "Agua de Annique," an animated message more positive. The sound is no different to what she was playing earlier.

"You Want To Be Free" is a beautiful song like "Everything is Changing".

"Circles" and "Stay" are gems on this album. Some other tracks do not have the same brightness.

Recommended for anyone who is a fan and who does not know, but it's not her best work.

"Anneke" decided to record an album of cover versions. "The Blower's Daughter (feat. Danny Cavanagh from Anathema) (Damien Rice cover)" does not present the same melancholy than the original but is highly recommended for his duet with "Cavanagh". The song "Beautiful One (feat. Niels Geusebroek from Silkstone)" on the basis of voice and guitar is almost more beautiful than the original, with a simple fingering, intense, and the distinctive voice of "Niels Geusebroek". The versions and the participating artists on this album involve a matter of perspective. You may prefer one version or another but it is difficult to be indifferent to so many arrangements dropped on his ear. Chronologically speaking this album was released before "In Your Room". This album in fact it is a compilation where "Anneke" plays "herself" from another angle, and interpret "Damien Rice", "Alanis Morissette" and others. Not their best album but it does not disappoint. Suitable for those who enjoy a quieter sound, light, relaxing.

Two years after the debut album, "Agua de Annique" returns with "In Your Room". Unlike the previous one, it starts much more excited about the melodies. The actual cover of the album is different, "Anneke" blonde with a smile or something similar to this, and the name of the band also had a small change. "Agua de Annique" is now "Anneke Van Giersbergen and Agua de Annique". "Pearly", "Hey Okay!" and "I Want" are very lively compared to the previous album, especially in "I Want", keyboard makes a point of stressing that. "Wonder" and "Home Again" recall the sound of first album. "Adore" is a nice song on this album, with well-constructed arrangements and details that make memorable songs like this. The members remain the same, but somehow the ideas have changed. The album is pleasant with beautiful melodies but without the brightness of the first. If the first album you could fly into musical journeys, this you are required to travel soon with his feet on the ground.

The sadness of the output of "Anneke" the band "The Gathering" was immense but incredibly good thing also happened, she set up another band. "Agua de Annique". Keeping the softness of the times of "The Gathering" with the sound traveler. This is not a copy, is a new band, original. "Anneke" can express yourself even better than before, the lyrics are living that perpetuate feelings through your voice. "Beautiful One" is a sonic journey that starts the album followed by the more lively "Witnesses." The other members do not call attention to themselves, play their part as best as possible in order to enhance the brightness of the voice of "Anneke". The debut album is full of passages for travelers especially the aforementioned "Beautiful One", "Witnesses," "Day After Yesterday" ... could quote almost the entire album. "Joris Dirks - guitarist" stands out on the track "Yalin" while the very "Anneke" joins his beautiful voice with his arrangements of piano on the track "Day After Yesterday". "Jacques de Haard - bass" and "Rob Snijders - drummer" the band complete. They are short tracks, nice. Just close your eyes and travel. "Take Care Of Me" is able to break the hardest of hearts. A song almost dragged, chords sung like an ordeal, one last time ... Once again the band stands out and rises the majestic voice of "Anneke" that in the final seconds gave himself to the promptings. In the track "Ice Water", "Joris Dirks" comes with "Anneke" on backing vocals increasing the drama of the music. beyond the short solo disconcerting that culminates with the voice of "Anneke" reaching the climax of the song. "You Are Nice" is the most aggressive song on the "CD" and also requires a higher pitch by "Anneke". "Trail Of Grief" has a strong mark on bass and other instruments of a growing, making this a more "collaborative" track on the album among the musicians. "Come Wander With Me" comes and goes like a breeze, simple e calm. "Sunken Soldiers Ball" gives us a moment of delicate strings with "Heleen de Witte - flute" and "Timothy Conroy - trumpet." "Kristin Fjellseth" sing along with "Anneke" in "Lost and Found." Unfortunately the album is finished and "Asleep" is the sound of goodbye. It is a journey worth every second, is a unique moment that lasts 51:19.