Amberian Dawn is a Finnish band, born from the ashes of Virtuocity which after disbanding turned into another band, Antheme One, which in turn then became Amberian Dawn, following the installation of Heidi Parviainen as their singer. With her they did release a number of symphonic metal albums with strong classical vocals and toured around Europe, as much as they could. Some four year after their debut album, they were faced with a crisis that led to some pretty severe lineup changes with Joonas Pykälä-aho (drums) and Emil “Emppu"” Pohjalainen (guitar) who had in the past been members of the band, rejoining the band and a new singer Päivi “Capri” Virkkunen, joining them. With her they released a “re-made” best album and proceeded joining the roster of Napalm Records and releasing their “debut” with that highly altered line-up, that sort of changed their style a bit to a more straightforward and poppy sound, while managing to maintain the neoclassical/symphonic metal side quite intact. “Magic Forest” wasn’t quite as impressive as one would have hoped, so I was rather dismissive of their newest effort, “Innuendo” before even hearing it, but boy was I wrong... with much more solid songwriting and the new members perfectly assimilated, the band manages to pull all stops and come up with an album full of very melodic and catchy numbers, that is shockingly good. Tuomas Seppälä (guitars, songwriting) takes a minute out of his schedule to answer some questions that these inquisitive folks at Grande Rock had to ask them...
Hi Tuomas… we’re glad to have on Grande Rock. “Innuendo” is a wonderful symphonic metal release… kudos!
T: Thank you. Agree with you... this is a wonderful album indeed…
As it’s the first time ever doing an interview with you, can you tell us which do you consider to be the best & the worst period of the band?
T: One of the best periods so far has been our first European tour with Epica in 2008. We were quite new in business and we got really fast an opportunity to tour with a bigger band for a whole month. It was great time and we learned a lot of things during that tour. The worst period must be early 2012 when I realized that we cannot continue with our current singer anymore and that I would need to start looking for a new singer. It wasn’t an easy task but eventually I managed to find a perfect new vocalist for AD.
I have to admit that without following AD closely, I did like the band and somewhat disliked the “re-recordings” although it’s as good a way as any to introduce a new singer... two albums down the road, and several into the career of the band, you are releasing one of your strongest offerings, how come?
T: You can’t never really know in advance, how good (or bad) your new album is going to be. You just have to do your best and use all your skills, connections and resources so that the output will be as good as possible. Everything went great and really smoothly with Innuendo album. We had excellent atmosphere within band members and you can really sense that good feeling on this record.
Also, was the rift with your former singer that great to cause an immediate re-recording of whatever “hits” the band had up to that point?
T: When I found Capri, I asked her to record a demo of “Cold Kiss”. When I heard it, I just loved it and I wanted to hear more re-recorded versions of our old songs with her. Soon we were in situation that we had demoed a lot of songs and that’s how I got the idea to release a full album with re-recorded songs. I still think that albums sound awesome and I’m glad that it was done.
How did you manage to make such a big progression from “Magic Forest” to “Innuendo”? What has changed in the band’s songwriting? Everything on this album seems several steps up, from the melodies, to the various orchestrations being more elaborate...
T: Some people are preferring “Magic Forest” better than “Innuendo” though, and it’s always about one person’s opinion whether an album is good or not. We started to work in a little different way already on “Magic Forest” album. We started to do more pre-production before going to recording studio. We had a team on which was me, Capri and co-producer Mikko P. Mustonen and together we polished the final vocal lines & lyrics.
And why “Innuendo”? Was the title inspired by the Queen album with the same title or not?
T: “Innuendo” was a title which at some point of recordings process just started to feel right. The title itself has not any deeper meaning. Sometimes you cannot explain all the titles of the songs or albums. Some certain title just feels right, you know... I think all AD members are Queen fans but despite that this album has nothing to do with that legendary band. But it’s nice to notice that using this title rises up a lot of questions.
What does the cover artwork symbolizes with the half-face sun and moon together?
T: The cover art of this album is designed by the same designer (Jan Yrlynd) who did our 4 previous album covers too. He didn’t get so many instructions or guidelines from band and it’s been done based on his feelings about the music & lyrics. We’ve been working with Jan for some time now so that he knows quite quickly, what kind of material we are looking for.
Can you also give us a hint about each track…
T: “Fame & Gloria”: This was an easy choice as opening track of this album. It represents the style & sound of “Innuendo” album really well.
“Ladyhawk”: One of my favorites.
“Innuendo”: On this song I used my new keyboard lead sound for the first time. I got this sound done with help of Jens Johansson of Stratovarius.
“The Court of Mirror Hall”: This song represents the softer side of me as composer and I’m glad that I included these kinds of songs on this album too.
“Angelique”: A musical- kind-of a song. We had a real chamber orchestra playing there and also I was able to play piano parts with a real Steinway & Sons grand piano.
“Rise of the Evil”: There must always be some really fast songs on AD’s albums... ;)
“Chamber of Dreadful Dreams”: One of my favorites on this album.
“Knock Knock Who’s There”: The softest & poppiest song on AD’s history. I really loved to work with softer music too.
“Symphony Nr 1, Part 1 – The Witchcraft”: Really heavy & classically influenced song. There might be more parts coming up on forthcoming album(s)…
“Your Time – My Time”: It was time to compose a ballad for AD for a change... :)
You’ve worked with Mikko P. Mustonen (Sonata Arctica, Ensiferum, etc.) for the album’s production and for the orchestral arrangements. Are you totally satisfied by the final outcome? Would you change anything if you had the chance again?
T: I’m satisfied with this album production as wholeness and also with every detail. Mikko P. Mustonen has been working with us since “Circus Black” – album and we have a good working relation with him. With our newest album we used first time Mikko Karmila as mixing engineer. He’s an excellent professional and you really can hear his “touch” on the sound.
11 guest musicians are participating on the album (viola, violin & cello). Do you think that it’s better to use “real instruments” than the digital ones?
T: It’s always best to use as much real instruments as possible. With new technology you can also manage without a live orchestra etc. but it’s always better to use real players & real instruments.
You’re part of Napalm, a company that seems to be doing rather well, how is your collaboration with them?
T: So far I’m very happy working with Napalm. Seems like their work is very well organized and also the whole stuff seems to work hard with their artists.
Will there be a tour and festival appearances in support of this album? How likely is it that you might ever play in Greece?
T: We just toured with Delain & The Gentle Storm for a two weeks right after releasing the album. We’re just updating our plans for 2016 and there might be more shows in Europe to come. Maybe a tour and maybe some festivals.
What does the future hold for AD?
T: Well, we’ll try to tour more, get to play on big festivals and release more studio albums. Hopefully we can soon make our first headlining tour to happen.
It’s time for our “weird questions”!!! How did you come up with the name Amberian Dawn?
T: When we started this band we had to have several brainstorming sessions about the band name. It’s never easy to come up with a new band name. Many good names are already taken. Our name was still just something which came up after long discussions.
Which do you consider to be the best female vocalist in rock/metal history?
T: I would consider ABBA-singers to be the best of all time. But this is only when we’re talking about p/rockop singers. There’s also a classical scene. In the end singing (or playing) shouldn’t be a contest. Still, those ABBA singers have always been perfect for my ears. Of course it’s always a combination of songs/melodies with singing performance and if the song or melody is good enough, then ever a mediocre singer can sound decent.
Which are the best 3 symphonic metal albums of all time according to you?
T: Well, I don’t have so many favorite Symphonic metal bands...
Fill in the phrase… “Symphonic metal wouldn’t have evolved the way it did, if it hadn’t been for…”
T: Classical music…
Imagine that your girlfriend/wife is selling your whole album-collection just to buy an expensive ring for herself. How would you react?
T: Very surprised since I don’t have so wide an album collection and my girlfriend doesn’t like to use rings… :)
That’s all for now, Tuomas. Thx for talking to Grande Rock. Say anything you feel like saying before we close… take care!
T: Thanks for interview. See you hopefully on tour.
T: Thank you. Agree with you... this is a wonderful album indeed…
As it’s the first time ever doing an interview with you, can you tell us which do you consider to be the best & the worst period of the band?
T: One of the best periods so far has been our first European tour with Epica in 2008. We were quite new in business and we got really fast an opportunity to tour with a bigger band for a whole month. It was great time and we learned a lot of things during that tour. The worst period must be early 2012 when I realized that we cannot continue with our current singer anymore and that I would need to start looking for a new singer. It wasn’t an easy task but eventually I managed to find a perfect new vocalist for AD.
I have to admit that without following AD closely, I did like the band and somewhat disliked the “re-recordings” although it’s as good a way as any to introduce a new singer... two albums down the road, and several into the career of the band, you are releasing one of your strongest offerings, how come?
T: You can’t never really know in advance, how good (or bad) your new album is going to be. You just have to do your best and use all your skills, connections and resources so that the output will be as good as possible. Everything went great and really smoothly with Innuendo album. We had excellent atmosphere within band members and you can really sense that good feeling on this record.
Also, was the rift with your former singer that great to cause an immediate re-recording of whatever “hits” the band had up to that point?
T: When I found Capri, I asked her to record a demo of “Cold Kiss”. When I heard it, I just loved it and I wanted to hear more re-recorded versions of our old songs with her. Soon we were in situation that we had demoed a lot of songs and that’s how I got the idea to release a full album with re-recorded songs. I still think that albums sound awesome and I’m glad that it was done.
How did you manage to make such a big progression from “Magic Forest” to “Innuendo”? What has changed in the band’s songwriting? Everything on this album seems several steps up, from the melodies, to the various orchestrations being more elaborate...
T: Some people are preferring “Magic Forest” better than “Innuendo” though, and it’s always about one person’s opinion whether an album is good or not. We started to work in a little different way already on “Magic Forest” album. We started to do more pre-production before going to recording studio. We had a team on which was me, Capri and co-producer Mikko P. Mustonen and together we polished the final vocal lines & lyrics.
And why “Innuendo”? Was the title inspired by the Queen album with the same title or not?
T: “Innuendo” was a title which at some point of recordings process just started to feel right. The title itself has not any deeper meaning. Sometimes you cannot explain all the titles of the songs or albums. Some certain title just feels right, you know... I think all AD members are Queen fans but despite that this album has nothing to do with that legendary band. But it’s nice to notice that using this title rises up a lot of questions.
What does the cover artwork symbolizes with the half-face sun and moon together?
T: The cover art of this album is designed by the same designer (Jan Yrlynd) who did our 4 previous album covers too. He didn’t get so many instructions or guidelines from band and it’s been done based on his feelings about the music & lyrics. We’ve been working with Jan for some time now so that he knows quite quickly, what kind of material we are looking for.
Can you also give us a hint about each track…
T: “Fame & Gloria”: This was an easy choice as opening track of this album. It represents the style & sound of “Innuendo” album really well.
“Ladyhawk”: One of my favorites.
“Innuendo”: On this song I used my new keyboard lead sound for the first time. I got this sound done with help of Jens Johansson of Stratovarius.
“The Court of Mirror Hall”: This song represents the softer side of me as composer and I’m glad that I included these kinds of songs on this album too.
“Angelique”: A musical- kind-of a song. We had a real chamber orchestra playing there and also I was able to play piano parts with a real Steinway & Sons grand piano.
“Rise of the Evil”: There must always be some really fast songs on AD’s albums... ;)
“Chamber of Dreadful Dreams”: One of my favorites on this album.
“Knock Knock Who’s There”: The softest & poppiest song on AD’s history. I really loved to work with softer music too.
“Symphony Nr 1, Part 1 – The Witchcraft”: Really heavy & classically influenced song. There might be more parts coming up on forthcoming album(s)…
“Your Time – My Time”: It was time to compose a ballad for AD for a change... :)
You’ve worked with Mikko P. Mustonen (Sonata Arctica, Ensiferum, etc.) for the album’s production and for the orchestral arrangements. Are you totally satisfied by the final outcome? Would you change anything if you had the chance again?
T: I’m satisfied with this album production as wholeness and also with every detail. Mikko P. Mustonen has been working with us since “Circus Black” – album and we have a good working relation with him. With our newest album we used first time Mikko Karmila as mixing engineer. He’s an excellent professional and you really can hear his “touch” on the sound.
11 guest musicians are participating on the album (viola, violin & cello). Do you think that it’s better to use “real instruments” than the digital ones?
T: It’s always best to use as much real instruments as possible. With new technology you can also manage without a live orchestra etc. but it’s always better to use real players & real instruments.
You’re part of Napalm, a company that seems to be doing rather well, how is your collaboration with them?
T: So far I’m very happy working with Napalm. Seems like their work is very well organized and also the whole stuff seems to work hard with their artists.
Will there be a tour and festival appearances in support of this album? How likely is it that you might ever play in Greece?
T: We just toured with Delain & The Gentle Storm for a two weeks right after releasing the album. We’re just updating our plans for 2016 and there might be more shows in Europe to come. Maybe a tour and maybe some festivals.
What does the future hold for AD?
T: Well, we’ll try to tour more, get to play on big festivals and release more studio albums. Hopefully we can soon make our first headlining tour to happen.
It’s time for our “weird questions”!!! How did you come up with the name Amberian Dawn?
T: When we started this band we had to have several brainstorming sessions about the band name. It’s never easy to come up with a new band name. Many good names are already taken. Our name was still just something which came up after long discussions.
Which do you consider to be the best female vocalist in rock/metal history?
T: I would consider ABBA-singers to be the best of all time. But this is only when we’re talking about p/rockop singers. There’s also a classical scene. In the end singing (or playing) shouldn’t be a contest. Still, those ABBA singers have always been perfect for my ears. Of course it’s always a combination of songs/melodies with singing performance and if the song or melody is good enough, then ever a mediocre singer can sound decent.
Which are the best 3 symphonic metal albums of all time according to you?
T: Well, I don’t have so many favorite Symphonic metal bands...
Fill in the phrase… “Symphonic metal wouldn’t have evolved the way it did, if it hadn’t been for…”
T: Classical music…
Imagine that your girlfriend/wife is selling your whole album-collection just to buy an expensive ring for herself. How would you react?
T: Very surprised since I don’t have so wide an album collection and my girlfriend doesn’t like to use rings… :)
That’s all for now, Tuomas. Thx for talking to Grande Rock. Say anything you feel like saying before we close… take care!
T: Thanks for interview. See you hopefully on tour.
(questions by Thanos & Rockavlon)