Former Evanescence guitarist Jen Majura steps back from music industry
Former Evanescence guitarist Jen Majura is stepping back from the music industry.
The 41-year-old German rocker was a member of the Bring Me To Life band from 2015 until 2022, when she found herself unceremoniously ousted from the band.
Three years on, the touring musician has decided to quit music for the foreseeable future, because of the "overwhelming amount of ridiculousness that comes with the music industry nowadays."
In a letter to fans shared on Instagram, she penned: 'Dear friends,
'I'm gonna make this as brief as I can:
'After careful consideration, observing what's going on in the music industry, AI related developments and change in society I've come to the conclusion to step away.
'Some of you have heard me talk about this quite a while ago. Instead of wasting another year of my life constantly hoping for new energy, drive and creativity, I've reached a point in my life where I can confidentially lean back in peace. While time allowed me, I was able to collect an amazing amount of beautiful experiences, tours, shows, travels and moments! I am grateful for every bit of that, but the world has changed. I can confidently make up my mind to stop."
Majura hasn't ruled out a return to music in the future.
She continued: 'I am not saying that I will never create any music again, whether recorded or live – but for now I feel there are healthier and better things to fill my life with good vibes and not deal with the overwhelming amount of ridiculousness that comes with the music industry nowadays. I just can't identify with today's attitude and values anymore."
After thanking fans for their support over the years, Majura announced the release of four tracks she stumbled upon after a decade.
She said: 'I wholeheartedly want to wish all the ambitious and remaining "creators', young and old, all the best. With time, the meaning will become clearer.
'To you, the fans, I wanna give you a giant virtual hug and say THANK YOU for all your support, love and faith throughout these years of me being an active touring musician, I am grateful."
She signed off: 'As a final musical endeavor I wanna share 4 tracks with you. Songs that were written over a decade ago together with the great guitarist Dennis Hormes. I found these old demo recordings while cleaning out stuff from my computer and thought they are too good to not be shared. So if you made it this far and read the whole post, I assume you actually ARE someone that truly cares and these 4 singles are for you!'
Announcing the departure of Majura, Amy Lee and co declared her tenure a "very special chapter" in the history of the group.
In a social media statement, they wrote: 'It has been a very special chapter in the band with our dear friend Jen Majura, but we have decided it's time to go our separate ways.
'We will always love her and support her, and can't wait to see what she does next! We are so grateful for the good times and great music we made all around the world together.'
Majura later claimed it was not her decision to leave Evanescence, but insisted there are "no hard feelings" or animosity between her and the rest of the band.
She tweeted: 'I feel the need to address that none of this was my decision!
"I have no hard feelings against anybody and I wish Evanescence all the best. I am allowed to carry beautiful memories of these past years, I am grateful.'
Majura replaced Terry Balsamo as guitarist, the replacement of original member Ben Moody, who quit back in 2003.
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Perth Now
a day ago
- Perth Now
Former Evanescence guitarist Jen Majura steps back from music industry
Former Evanescence guitarist Jen Majura is stepping back from the music industry. The 41-year-old German rocker was a member of the Bring Me To Life band from 2015 until 2022, when she found herself unceremoniously ousted from the band. Three years on, the touring musician has decided to quit music for the foreseeable future, because of the "overwhelming amount of ridiculousness that comes with the music industry nowadays." In a letter to fans shared on Instagram, she penned: 'Dear friends, 'I'm gonna make this as brief as I can: 'After careful consideration, observing what's going on in the music industry, AI related developments and change in society I've come to the conclusion to step away. 'Some of you have heard me talk about this quite a while ago. Instead of wasting another year of my life constantly hoping for new energy, drive and creativity, I've reached a point in my life where I can confidentially lean back in peace. While time allowed me, I was able to collect an amazing amount of beautiful experiences, tours, shows, travels and moments! I am grateful for every bit of that, but the world has changed. I can confidently make up my mind to stop." Majura hasn't ruled out a return to music in the future. She continued: 'I am not saying that I will never create any music again, whether recorded or live – but for now I feel there are healthier and better things to fill my life with good vibes and not deal with the overwhelming amount of ridiculousness that comes with the music industry nowadays. I just can't identify with today's attitude and values anymore." After thanking fans for their support over the years, Majura announced the release of four tracks she stumbled upon after a decade. She said: 'I wholeheartedly want to wish all the ambitious and remaining "creators', young and old, all the best. With time, the meaning will become clearer. 'To you, the fans, I wanna give you a giant virtual hug and say THANK YOU for all your support, love and faith throughout these years of me being an active touring musician, I am grateful." She signed off: 'As a final musical endeavor I wanna share 4 tracks with you. Songs that were written over a decade ago together with the great guitarist Dennis Hormes. I found these old demo recordings while cleaning out stuff from my computer and thought they are too good to not be shared. So if you made it this far and read the whole post, I assume you actually ARE someone that truly cares and these 4 singles are for you!' Announcing the departure of Majura, Amy Lee and co declared her tenure a "very special chapter" in the history of the group. In a social media statement, they wrote: 'It has been a very special chapter in the band with our dear friend Jen Majura, but we have decided it's time to go our separate ways. 'We will always love her and support her, and can't wait to see what she does next! We are so grateful for the good times and great music we made all around the world together.' Majura later claimed it was not her decision to leave Evanescence, but insisted there are "no hard feelings" or animosity between her and the rest of the band. She tweeted: 'I feel the need to address that none of this was my decision! "I have no hard feelings against anybody and I wish Evanescence all the best. I am allowed to carry beautiful memories of these past years, I am grateful.' Majura replaced Terry Balsamo as guitarist, the replacement of original member Ben Moody, who quit back in 2003.
Sydney Morning Herald
05-06-2025
- Sydney Morning Herald
Spellbinding performance does justice to a masterpiece
MUSIC STEPHEN HOUGH PERFORMS MENDELSSOHN Sydney Symphony Orchestra, Sydney Opera House, June 4 ★★★★ Reviewed by PETER MCCALLUM In 2023, Sydney Symphony chief guest conductor, Sir Donald Runnicles, introduced Idyllium, by German composer Detlev Glanert to Sydney audiences alongside the work which shaped it, Brahms' Symphony No. 2. Glanert has written musical reflections, or 'distorting mirrors' as Runnicles described them, on all four of Brahms' symphonies. In this concert, Runnicles brought us Vexierbild: Kontrafaktur mit Brahms in which the themes and energy of Brahms' Symphony No.3 float by like afterimages on the retina. Like Brahms' work, Vexierbild starts assertively, the opening trombone notes quickly rising through the orchestra only to disperse into flitting woodwind fragments. After a restless first section driven by syncopated compound rhythms and images of the defining motives of Brahms' first movement, the music subsides to stasis in which memories of Brahms' third movement hover in the air. The opening returns with some energy until it slows down as though being dragged to a halt, before a quiet close on the third of the chord. It is as though the motive that had animated both Brahms' and Glanert's works had been brought to some kind of glowing finality. The SSO followed this with Brahms' actual Symphony No. 3, in which Runnicles eschewed unduly emphatic articulation and strutting energy in favour of naturally shaped ideas which evolved with Brahms' fluid rhythmic regroupings, extensions and elaborations. After idyllic simplicity from clarinets in the opening of the second movement, the strings, under concertmaster Andrew Haveron, embellished this idea's recurrence with rich warmth, rising to memorable intensity at the climax. The cellos were unrushed as they began the lilting third movement (which had haunted the central section of Glanert's piece), but rather unfolded its charming irregularities of line with floating melancholy. The finale busied itself with subdued energy, the second theme on French horn issuing forth with noble confidence before closing quietly. Loading The first half began with Mendelssohn's Overture, The Hebrides Opus 26 (' Fingal's Cave '), played here not as an image of a lonely place on a hostile sea but more as an inner terrain of thoughtful solitude, which eased warmly when clarinettist Francesco Celata brought back the second theme. Stephen Hough then played the same composer's Piano Concerto No. 1 in G minor, Opus 25, with commanding brilliance and consummate maturity, driving its first movement with stormy determination, its second with comely grace and simple beauty and the third with fleet virtuosity and a lively kick of the heel.
The Age
05-06-2025
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Spellbinding performance does justice to a masterpiece
MUSIC STEPHEN HOUGH PERFORMS MENDELSSOHN Sydney Symphony Orchestra, Sydney Opera House, June 4 ★★★★ Reviewed by PETER MCCALLUM In 2023, Sydney Symphony chief guest conductor, Sir Donald Runnicles, introduced Idyllium, by German composer Detlev Glanert to Sydney audiences alongside the work which shaped it, Brahms' Symphony No. 2. Glanert has written musical reflections, or 'distorting mirrors' as Runnicles described them, on all four of Brahms' symphonies. In this concert, Runnicles brought us Vexierbild: Kontrafaktur mit Brahms in which the themes and energy of Brahms' Symphony No.3 float by like afterimages on the retina. Like Brahms' work, Vexierbild starts assertively, the opening trombone notes quickly rising through the orchestra only to disperse into flitting woodwind fragments. After a restless first section driven by syncopated compound rhythms and images of the defining motives of Brahms' first movement, the music subsides to stasis in which memories of Brahms' third movement hover in the air. The opening returns with some energy until it slows down as though being dragged to a halt, before a quiet close on the third of the chord. It is as though the motive that had animated both Brahms' and Glanert's works had been brought to some kind of glowing finality. The SSO followed this with Brahms' actual Symphony No. 3, in which Runnicles eschewed unduly emphatic articulation and strutting energy in favour of naturally shaped ideas which evolved with Brahms' fluid rhythmic regroupings, extensions and elaborations. After idyllic simplicity from clarinets in the opening of the second movement, the strings, under concertmaster Andrew Haveron, embellished this idea's recurrence with rich warmth, rising to memorable intensity at the climax. The cellos were unrushed as they began the lilting third movement (which had haunted the central section of Glanert's piece), but rather unfolded its charming irregularities of line with floating melancholy. The finale busied itself with subdued energy, the second theme on French horn issuing forth with noble confidence before closing quietly. Loading The first half began with Mendelssohn's Overture, The Hebrides Opus 26 (' Fingal's Cave '), played here not as an image of a lonely place on a hostile sea but more as an inner terrain of thoughtful solitude, which eased warmly when clarinettist Francesco Celata brought back the second theme. Stephen Hough then played the same composer's Piano Concerto No. 1 in G minor, Opus 25, with commanding brilliance and consummate maturity, driving its first movement with stormy determination, its second with comely grace and simple beauty and the third with fleet virtuosity and a lively kick of the heel.
