It may be her debut solo album, but few in the world of rock, metal, and even opera will be unaware of the name Floor Jansen. The frontwoman of Finnish symphonic metal outfit Nightwish has been at the centre of the female fronted rock movement for over a decade,. Regardless of whether the female fronted tag is something you deplore or not, it’s undeniable that Jansen’s talent in a band of male musicians is exceptional. Her vocal range is a defining characteristic of the band, and if you’ve ever seen Nightwish, or her other bands After Forever and Revamp, you’ll know that she is one impressive lady.
Having been through some of life’s real challenges, Paragon allows time to focus on her music, albeit in a completely different style to that which we are accustomed to. Paragon is Floor’s statement about where she is today. As she says, “‘Look at me now, I’m already there!”
Paragon is a quite beautiful record. There’s plenty of pop-infused melody, catchy hooks that will no doubt catch in a wider net than Nightwish are ever likely to do. There are plenty of emotional ballads, which provide a poignant reflective view on her life, her music, and her outlook on life. Floor says that this album is one that defines her, that she is on her path and has reached her Paragon.
Approaching Paragon, it’s best to park those preconceptions and embrace it for what it is. A carefully crafted, at times delicately positioned album that allows her full range. The buoyancy of the title track is not going to endear itself to those who are narrow minded. It’s almost disco, definitely pop, but with an edge that could be a highly scoring Eurovision song. It’s Floor making her stand, passing out her message and giving two fingers to those who don’t want to embrace the wide, versatile qualities that this woman possesses. I’ll make it clear here – this is different, exceptionally different.
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Dip into the magical ballads and allow them to envelope you. Calming, yet powerfully strong and full of emotional reflection. “Daydream” is uplifting, inspiring and moving. There’s more gentleness on “Hope”, which showcases the gentler side of Floor’s voice. For a woman who can really roar, this is the absolute antithesis of her Nightwish rockers.
There are plenty of powerful songs here as well. “Come Full Circle” pulses along, with a lovely 80s feel, allowing Floor to really open those pipes. Yet it’s magically created, lingering in the memory long after it’s passed. “Me Without You” takes a different path, a smouldering song that is supported by percussion and delicate guitar work before slowly building. All the while, Floor’s voice takes centre stage, although it’s the backing musicianship that provides the platform for her to expand and explore.
Of course, there needs to be at least one flourish which reminds us of where she comes from. That’s “The Calm”, which is as close to the symphonic style we know and love her best for. For me, it’s also one of the best tracks on Paragon, with the strings and orchestral arrangements enhancing a fantastic vocal performance.
It’s clear that Floor is exceptionally proud of this album. And she should be. It’s cleverly orchestrated, with subtle flashes and movements. Co-written with her long-time collaborator and former After Forever band mate Gordon Groothedde, who also adds much of the drums, guitars, bass, piano and takes full writing credits for two songs, alongside fellow writers Wouter Hardy, Ruth Lorenzo andand Tamra Keenan. Paragon is an album that is delicious on first listen, but one that draws you in for repeated listens. A tranquil and joyous celebration of life, it’s an album that will surprise, and may disappoint a few. You genuinely must embrace Paragon for a work of art, that sits outside of the rock and metal pigeon holing. If you can do that, then Floor Jansen’s exceptional talent, combined with some stunning musical support, is something to treasure, hold, and just enjoy.
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Paragon is out on March 24th
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