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When Dutch singer/songwriter CHARLOTTE WESSELS departed symphonic metallers DELAIN in acrimonious circumstances back in February 2021, she wasted no time in building her own entrancing empire. With the world still largely in lockdown, she carried her momentum onto Patreon, recording and releasing music from her home studio that, initially as singles, wound up becoming the first two volumes of Tales From Six Feet Under in 2021 and 2022 respectively. The positive response to the pair only fuelled Wessels‘ fire further and now, on Friday 20th September, comes her third album The Obsession via Napalm Records, the first where she has been able to deliver a full studio experience on tape.
Both editions of Tales From Six Feet Under were showcases not just of Wessels‘ ability when left to her own devices, but also a chance for her to experiment with different vibes and styles after so many years of playing heavy music that flipped between the emphatic and the emotional on a sixpence. The Obsession, however, sees much of a return to that symphonic metal sound that she was so well known for, although given she’s also joined by former DELAIN bandmates Timo Somers (guitars), Otto Schimmelpenninck van der Oije (bass) and Joey Marin de Boer (drums), that may well have been expected.
There’s definitely more crunch in the riffs, though: Dopamine hits harder than anything their collective former project managed and there’s a sparkling cameo from EPICA vocalist Simone Simons to boot, while lead single The Exorcism is significantly darker too, a foreboding introduction giving way to a sinister track that weaves and bobs around some thunderous guitars, pummelling drums and Wessels‘ anguished vocals, seemingly exploring uncleans for the first time. Talking of uncleans, Alissa White-Gluz of ARCH ENEMY fame pop ups on Ode To The West Wind to unleash her own growls, adding an extra dynamic to Wessels‘ sonorous cleans.
For all the heavy that comes with The Obsession, Wessels hasn’t let the heartfelt disappear entirely – she understands that while she has come back to an area she is arguably stronger in, she cannot let what she learned over the last few years go to waste. As such, Praise incorporates some gospel chorals and take on a more pop metal approach, with more than a hint of soul for good measure as well. She also allows herself to bring out the more tender side in her voice in Soulstice and All You Are, delivering the lyrics as if she’s singing a lullaby despite the crashing that swirls around.
Soft Revolution 2024 is a redux of the final track from the first Tales From Six Feet Under; it closes The Obsession as well and, although one may feel that it could have made way for a new song, Wessels has taken what was already a fan favourite and given it the professional studio treatment it deserved; it’s more fleshed out, sounds far bigger and – whisper it – is arguably superior to the one that’s come before it.
The Obsession is the sound of a woman growing in confidence as she continues to venture out on her own. CHARLOTTE WESSELS has a clear focus of where she wants to go with her career and this is a strong step in the right direction. Continue this momentum and her former outfit will be looking over their shoulder with apprehension.
Rating: 7/10
The Obsession is set for release on September 20th via Napalm Records.
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The post ALBUM REVIEW: The Obsession – Charlotte Wessels appeared first on Distorted Sound Magazine.
