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Charlotte Wessels’ upcoming album The Obsession is more than just a continuation of her solo work; it’s a leap forward in both scope and sound. Set for release on September 20, 2024, via Napalm Records, this record taps into the deepest recesses of her creativity, blending the haunting beauty of her earlier solo efforts with heavier, more progressive elements. While her Tales From Six Feet Under compilations laid the groundwork, The Obsession transcends, showcasing a newfound maturity and confidence.
This album is backed by a stellar lineup that adds weight to the intricate emotions woven through each track. Joining Wessels are fellow ex-DELAIN members Timo Somers (guitars, additional arrangements), Otto Schimmelpenninck van der Oije (bass), and Joey Marin de Boer (drums), who enrich the sound with their polished musicianship. Sophia Vernikov (piano, Hammond) and Vikram Shankar (arrangements) also contribute significantly, while Elianne Anemaat provides haunting cello parts that deepen the emotional impact. The album’s impressive production is bolstered by mix engineer Guido Aalbers and mastering by Andy VanDette, ensuring that every sonic layer shines.
As soon as the album opens with “Chasing Sunsets,” there’s a sense of cinematic grandeur. The song swells with a blend of melancholy and hope, a motif that continues throughout the album. It’s not just Wessels’ distinctive vocals that shine, but the lush instrumentation — particularly the subtle but commanding guitar work by Somers and the grounding bass lines of van der Oije. By the time the second track, “Dopamine,” kicks in, featuring a guest appearance from Simone Simons (Epica), the album dives into more introspective territory. The song, a commentary on SSRI-induced numbness, contrasts soaring melodies with darker undertones, capturing both fragility and strength.
This duality persists in tracks like “The Exorcism” and “The Crying Room,” where heavier elements blend with intricate storytelling. “The Exorcism” is a prime example of Wessels’ ability to balance raw emotionality with control, her voice at once ethereal and powerful. “The Crying Room” explores the darker, obsessive corners of the mind, its arrangement stark yet compelling. The addition of Alissa White-Gluz (Arch Enemy) on “Ode To The West Wind” brings a ferocious energy to the album, her growls providing a counterpoint to Wessels’ more restrained delivery.
Midway through the album, “Soulstice” and “Serpentine” take a sensual turn. Both tracks simmer with a dark, mysterious allure, highlighting a more provocative side of Wessels’ songwriting. Here, the interplay between strings, keys, and guitars creates an atmosphere that feels both intimate and vast. The former song is particularly memorable for its slow build, culminating in a cathartic release, while the latter slithers with an intoxicating groove.
“Praise” offers a biting critique of society’s craving for external validation. The song’s upbeat, almost anthemic energy masks its more cynical message, much like how people hide insecurities behind curated images. Meanwhile, “All You Are” delivers a more introspective moment, where the lush instrumental arrangements give room for Wessels’ vulnerable side to truly shine.
The closing trio of tracks — “Vigor and Valor,” “Breathe,” and the reimagined “Soft Revolution (2024)” — bring the album to a stirring close. “Soft Revolution,” a fan-favorite, takes on new emotional weight with the updated arrangement. Wessels taps into her Patreon community’s connection to the song, ensuring it feels as cathartic for listeners as it does for her.
Overall, The Obsession is Charlotte Wessels at her most expressive and daring. The album’s themes of fear, obsession, and the search for validation are explored with such nuance that each song feels like a therapeutic release. Supported by an incredibly talented group of musicians and guests, Wessels has crafted her most personal and ambitious work to date, ensuring that her solo career continues to flourish.
Verdict: 4.5/5
Ethereal Metal 
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