The new vocalist of the Polish band "Dom o Zielonych Progach" (active since 2024), Jagienka Klecha, immediately piqued my interest. Comparisons to Floor Jansen (from the Netherlands, but singing in the Finnish band "Nightwish") seem quite apt.

 

The most distinctive feature is the "vibrato" modulation. Both girls have excellent control over this medium, and both use it almost identically.

 

The chest register is used high. Both sing:

- with a high-set, but relaxed chest voice,

- with very good control over the transition into the mix.

 

It sounds "natural," so it doesn't draw attention, but it is challenging and distinctive.

 

A stable support yet seemingly relaxed. To the average ear: "She sings freely, as if casually." For the teacher: "Okay, there's very consistent diaphragm work here, zero phrase collapse, even air pressure."

This is exactly what Floor is known for—control without demonstrative force.

Vowel iculation. Key detail:

- neither vocalist stretches the vowels at the top of the scale,

- "a" doesn't turn into a screaming "æ,"

- "i" doesn't become thin and nasal.

"Normal singing" is actually a rich school of thought.

 

A lack of "genre clichés." In a tourist song, Jagienka doesn't sing like a stereotypical folk singer. Similarly, in metal, Floor doesn't sound like a typical metal diva.

 

You can clearly hear the conscious avoidance of stylistic abbreviations, a neutral vocal base overlaid with a genre. It's very "Floorish."

 

A careful concert observer will also notice one detail: both vocalists have a nearly identical-looking fan on stage, pointing at them! However, if one focuses on emotion, lyrics, and musical style, Jagienka and Floor's are completely different. She's an artist who thinks with her voice in a similar way, though she's not a vocalist who sounds like Floor Jansen.

Looking back at Jagienka's first performances with the band, one might notice that her distinctive interpretations and "feel" for the songs came over time—but her excellent vocal technique is evident from the very beginning. The band's compositions are vocally rather easy—even teenagers around a campfire in the mountains (because that's what these songs are like) can sing them in a way that would be a joy to listen to. Yet, there's a distinct sense of unreleased power in Jagienka's voice. Or perhaps unleashed, but only when there's no audience—because there's no doubt that this girl works and practices a lot. We might not hear the growls and distortions—those remain Floor's domain—but hopefully, we'll experience much more of her pure voice in the future. Jagienka, on the other hand, definitely beats Floor in one respect - Floor doesn't play the cello ;)

 

It's quite enjoyable to hear the band play "We wtorek w schronisku" (a nostalgic song about autumn mountain shelter, with last guest having left yesterday and the owner sits around alone) or "Zmierzch w górach" (a ballad about hikers enjoying sunset sitting by a bonfire). But I'm pretty sure that the "Ghost Love Score" (described as a "symphonic metal catharsis") or "Sleeping Sun" (a Sun eclipse ballad) will be great as well. And be sure to have Jagienka bring her cello!

 

Here is a young vocalist with serious classical-adjacent technique performing in a "humble" genre (campfire mountain songs). She's overqualified for the material. Her technical sophistication rivals a world-class symphonic metal vocalist. Watch this space.