When Charlotte Wessels departed from Delain back in early 2021, it was nothing less than surprising to many loyal followers. Wessels, thirty-three years old at the time, had spent sixteen long years fronting the band; recording six studio albums with them and devoting all her creative energies. Unfortunate to see the split, interestingly enough, Wessels has landed comfortably on her feet as a solo artist where she continues to expand on her sound.
Fitting, Wessels has shown that it is not the genre that matters, but the quality of the music itself. Proving this with her full-length solo debut, 2021’s Tales from Six Feet Under, it was here she experimented with more Pop textures that were both attractive and eye-opening. This is while 2022’s Tales from Six Feet Under Vol II took matters in a slightly different direction that was more Heavy Metal leaning, but still quite eclectic. Now in 2024 Wessels looks to make her boldest statement yet with the new album The Obsession.
Set for release on September 20th through Napalm Records, The Obsession is by far Wessels’ heaviest solo effort to date, but stating only this, sells it short. Featuring contributions from ex-Delain mates Timo Somers (guitars, additional arrangements), Otto Schimmelpenninck van der Oije (bass) and Joey Marin de Boer (drums), there is no question the album has a strong Metal backbone. However, what makes The Obsession stand out is the richly layered textures of the guitars, keyboards, and most importantly, Wessels’ voice. Executed with an esthetic that is inviting, the vocal arrangements are some of the most compelling you will hear from a Metal album in 2024.
A bold statement, there is something about in the way this album was mixed by Guido Aalbers (Muse, Coldplay, Live, Queens of The Stone Age, The Gathering) and mastered by Andy VanDette (who has worked with everyone from Porcupine Tree, Deep Purple, to Dream Theater) that exemplify the vocal talents of Wessels in the best fashion possible. Wessel is someone trained both in Classic and Jazz singing; and the way these songs are approached showcases both class, but emotive movement in the notes sung. Beyond this, the energy displayed in the musical compositions is consistently at a high level that should please even the ficklest of Rock fans.
Truly a delightful listen, there are many key moments on The Obsession that immediately grab your attention. Among these, you have the enchantment of those like “Chasing Sunsets” or “Dopamine” (featuring Simone Simons of Epica), plus the ever-interesting “The Exorcism” and “Ode to the West” (including Arch Enemy’s Alissa White-Gluz), just to name a few. This is while others like “Serpentine” hit a nerve with its array of feelings and “Vigor and Valor” shows a bold, fearless level of experimentation that is electrifying.
When it is all said and done Charlotte Wessels’ The Obsession is her most dynamic and exhilarating solo album to date. It unified various aspects of her being, but all in a way that is genuine and interesting. Wessels has always been a very free-thinking individual and the work with her former bandmates in Delain, along other key players – such as Sophia Vernikov (piano/hammond), Vikram Shankar (Redemption, Silent Skies) assisting with some arrangements, as well as cello playing by Elianne Anemaat – has seemed to play a vital hand in all the stars aligning correctly. Something that should solidify Wessels as a bonafide solo artist, Cryptic Rock gives The Obsession 5 out of 5 stars.
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