Topaz

Two truly distinctive voices, which when layered together have the power to knock the wind out of you, Topaz are the Female Vocal Group reborn. It’s an old fashioned notion – exceptional voices singing exceptional songs, the kind which capture a moment and stay with you for a lifetime – but one that’s been missing from music for too long. Then again, exceptional talents like Topaz are hard to come by.
Having been together for three years, Mari and Eleanor have established themselves as a formidable duo, uniquely equipped for the job of putting the brains and beauty back into pop. Their vocal abilities have both charmed and staggered everyone who’s heard them, and with both being accomplished musicians and enviable songwriters, deft with a bruised emotion and unshakable chorus, they’ve already leagues ahead of the manufactured masses.
As Norwegian born Mari puts it, “For us it’s all about the songs and the sound, not how flat our tummies are. It’s about singing, writing and arranging harmonies.” “And,” adds Eleanor, who’s more often than not to be found at the business end of a grand piano, “because we’re a Female fronted group, it’s about two powerful voices. It’s not one singer and the other one in the background. We can both take the lead at anytime.”
Reference points and comparisons that do the duo justice are hard to come by. Fleetwood Mac comes to mind and while Topaz’s technical proficiency more than stands-up to the likeness, it doesn’t do anything to capture their strength of character or the genuine, spine-tingling emotion that their harmonies and songs hammer home. The fact is, Topaz’s strident melodies, majestic pianos and country-tinged heartache, are grown-up pop at its most satisfying: catchy, beguiling and anything but throwaway.
“That’s why writing songs is so important to us,” explains Mari. “It’s important for us to sing songs that we believe in, that matter to us.” Eleanor: “If you believe in what you’re singing, there’s real emotion to it. And if you don’t believe in what you’re singing, how can you expect anyone else to?”
It helps that both share a determined streak and a list of musical credentials which ensure that in the studio they know their own minds and aren’t afraid to express them.
Eleanor’s played piano since the age of five, and has every diploma, at every level, from every examination board, including Trinity Collage, to prove it. Guitar, Violin and, yes, Recorder, bring her tally of instruments to five. As well as singing, Mari plays guitar and piano, and studied at the Academy Of Contemporary Music after moving from Norway to England.
“We co-write a lot with producers, and it helps to know what you’re talking about,” confirms Mari. “It’s great to be able to say, I think that rhythm track’s boring, let’s try this instead.” Eleanor: “Also, we like to write everything from scratch. We prefer to throw around some chords with a co-writer or producer, trying different ideas, rather than using a load of tracks that they’ve already prepared.” Mari: “And because we both play instruments, we have really clear ideas, and we’re really able to make our own mark.”
So distinct is that mark, and so rare are their talents, that after only a couple of writing sessions, word quickly spread and they soon had studio time with some of the biggest writers in pop in the diary. Those behind hits by Christina Aguilerra, Natalie Imbruglia, Lucie Silvas, Clay Aiken, Jessica Simpson and The Corrs have all had a hand in the shaping ID’s stunning debut album, yet so strong is the girls’ sense of who they are, that the songs are unmistakably their own.
From dusty-road anthem First Day, through the slumbering Not Gonna Cry and love struck daze of Thinking About Tonight, to Beautiful You’s soaring sun-blessed harmonies, it’s pop in a class of its own. A beautiful, intelligent and thoughtful record, as capable of tears as life-affirming sing-alongs, it’s guaranteed to generate a whole generation of imitators. And in massive piano swayer, Thankful, all palpable regrets and surging redemption, they’ve delivered a guaranteed future classic.
“Working with real singers and putting harmonies together is like colouring a painting,” explains Eliot Kennedy, who counts among his many credits Bryan Adams, Delta Goodrem, Hayley Westenra, Celine Dion, the Spice Girls and Take That. “Topaz were the brightest colours I’ve worked with in a long time. It’s so refreshing to sit back and listen to two unique, but perfectly blended voices. And writing with them was not only fun but refreshing and rewarding. I can’t wait for the next time!”
“I think it helps that we’re not kids,” says Mari of how they manage to hit so high above the pop average. “We’re grown-ups ourselves, we’re not aiming at 10 year-olds. And we’re not singing about the standard, I-love-him-I-wish-he-loved-me-too stuff. There’s nothing wrong with that, but sometimes you want more from a song.” Eleanor: “I think we’ve been really lucky as well. From day one we really work well together, and we’ve really grown together, to the point where we sometimes come up with the same ideas at the same time.” Mari: “Sometimes we’ll come-up with the same ad-lib at the same time, and we’ll have harmonised it. Which is a bit freaky, but kind of cool too.”
Of all the things that stand Topaz apart - two exceptional voices, flooring harmonies, prodigious writing talent and a determination to do it their way - perhaps the most striking is their attitude. Ask what constitutes success to them, platinum discs, number ones, awards, or fame and fortune and Mari is in absolute agreement with Eleanor when she says, “We want to be here for the long term, making something that lasts.”
• Dan Gennoe Freelance Music Journalist for: Q Magazine, Red Magazine, Voyager Magazine (music editor), Esquire, The Independent, Total Music, Dotmusic.com, Amazon.co.uk & Q4Music.com