Mit „Soulward Bound“ verfolgt Dianne van Giersbergen einen außergewöhnlichen und zugleich zutiefst persönlichen Ansatz: Ihr erstes Soloalbum erscheint im Rahmen einer fünfjährigen Waterfall-Release-Strategie – zwei Songs pro Jahr, jeder davon in Zusammenarbeit mit wechselnden Musiker*innen aus der Metal-Szene. Nach ihrer Zeit bei Xandria, ihrer künstlerischen Weiterentwicklung mit Ex Libris und zahlreichen hochkarätigen Kollaborationen markiert dieses Projekt nicht nur ein musikalisches, sondern auch ein emotionales Comeback. Im Interview mit uns dem Frontstage Magazine spricht Dianne über die kreative Freiheit hinter ihrem Konzept, den Mut zur Verletzlichkeit, die Balance zwischen opernhaftem Ausdruck und metallischer Wucht sowie darüber, warum „Soulward Bound“ vermutlich das persönlichste Werk ihrer bisherigen Karriere ist.
Frontstage Magazine: Your album “Soulward Bound” follows a unique five-year waterfall release strategy. What does this long-term creative approach mean to you personally and artistically?
Dianne: Releasing my album through this strategy is the heart and soul of my project! My first solo album, will feature10 songs that together tell the story of what I’ve been through over the course of 5 years. Beginning at the point the I decided to leave Xandria and ending with the announcement of “Soulward Bound”.
The full story will unfold over the same five-year timeline in which it happened, with two songs per year, each as a single accompanied by a cinematic video For each song, I relive the entire process of writing, producing and releasing. This allows me to explore each theme in depth: musically, lyrically ánd cinematically. Next to that it also gives me the opportunity to work with different musicians per song!
While I’m very thankful to have all songs co-written, orchestrated and produced by Joost van den Broek (Epica, Powerwolf, Ayreon a.o.) – I also love that the drummer, bass guitar player, guitar player and other instruments, are performed by a different musician every time.
The musicians I approach for my album are those that match the style and/or authenticity of the song and that will elevate it to another level. It’s a wonderful way of collaborating with so many different musicians from the metal genre. This way “Soulward Bound” does not only belong to me. It also belongs to the metal community. To the musicians who feature on it, but also to the fans and followers that decide to join my journey somewhere along the way towards the release of the final song.
Frontstage Magazine: Your return to symphonic metal marked a significant turning point after a period of reflection and rebuilding. What inspired you to step back into the genre with your own solo vision?
Dianne: Simply put, because it was calling me. It was never a question of íf I would return, it was always about ‘how’ and ‘what with’. After parting ways with Xandria, I focused on releasing the album “ANN” with my progressive metal band Ex Libris. It’s a brilliant album – if I may say so myself – centered around three historical women who all share the same name: “ANN”.
I loved researching their stories, diving into their characters, shaping the music to reflect their individual battles and believe we did them justice. But I knew that my return had to be in the genre where I feel most at home: Symphonic Metal. I could have chosen another tale from history, or something fantasy inspired like many Xandria songs were, but my come-back had to mean something. It had to be pure, honest and personal. With my name now front and center, there was only one story I could share: my own.
Frontstage Magazine: Each single features a completely different lineup of well-known musicians from across the metal scene. How does this rotating cast influence your songwriting and the identity of the project?
Dianne: Guess I’ve already answered this in the first question
Frontstage Magazine: Many of your new songs explore themes of courage, healing, and reclaiming personal strength. How do you turn deeply personal experiences into powerful anthems that resonate universally with listeners?
Dianne: That’s the beauty of song writing: it gives you a unique opportunity to speak to the people directly, to touch and comfort them in their most vulnerable moments. I might be singing about things I’ve personally gone through, but I believe that listeners will always interpret my words through the lens of their own experiences. And they should! When someone feels like one of my songs is written just for them, that’s the greatest compliment I could ever receive. On my journey, I’ll be touching on topics that aren’t often explored in music: like undergoing life-saving surgery for example.
In “A Symphonic Tragedy”, I sing about a surgery I had to go through, the surreal limbo of being under anesthesia and the steep, daunting climb of recovery afterward. Even if a listener hasn’t experienced this themselves, they might know someone who has – or will. Singing about a topic like this creates a moment of stillness and reflection that – I hope – invites more empathy and understanding toward one another.
Frontstage Magazine: Balancing dramatic operatic vocals with heavy symphonic metal elements can be a delicate process. How do you ensure both sides of your voice—classical and metal—remain authentic and emotionally aligned?
Dianne: Well I think I am a story teller first and a singer second, meaning that I will always put my instrument in service of the story – as is done within classical music. So there we already have a first point on how I approach the mix of classical music with metal. Technically speaking I’ve found a way in which I can use my classical techniques but still have my singing somewhat understandable for the metal audience. There are actually quite some adaptations that are made to the voice to have it blend smoothly, people might think I sing full on classical, but ask a classical audience and they will disagree with you. Implementing these adaptation does not only have to do with blend and understandability, it also has to do with the huge difference in how the voice is accompanied. Singing (acoustic!) with a classical orchestra for example demands much more variaty in dynamic and projection than being an emplified instrument in a band: wether its a studio mix or life mix, there’s always a technition that will make sure the voice will float nicely on top of it all.
So back to your question: I think how I keep my voice/sound authentic – within both the limits and freedom of a studio recording or live on stage, is that I look for as many notes as I can, during the writing session already, that will put a spotlight on my timbre, the individual sound that makes every voice unique. Andd then the topic of the song does the emotional story telling. My technique together with the knowlage of the cross-over, that I build through my years at the conservatory up till now, does the rest.
Frontstage Magazine: Looking back at your journey from Ex Libris to Xandria and countless collaborations, how does your solo work represent who you are today as an artist more than any previous project?
Dianne: I think every part I’ve sang up ‘till now has helped me prepare to write my first solo album. I know how to make my voice shine, how write vocal lines that fit my voice like a glove and I know the importance of working with people that will lift you up and believe in you! Who I am today? A singer who feels good about the journey she is on, who has challenged herself by doing everything without the help of a label, manager and so on and who feels inspired by her fellow musicians as well as immensely supported by the reception each of my songs has had so far.
They say life should be about the journey, rather than the end goal. Well for my album this is certainly true, it’s a good thing to be on this quest!
Fotocredit: Jord Otto
