“The album feels like a reintroduction”

Your albums Tales from Six Feet Under I & II began as a solo project during the pandemic. Now, you’re accompanied by some of your former Delain colleagues and other musicians. Is there any possibility of this solo project evolving into a full band project, or is it simply a part of your creative process to work with these musicians?

Charlotte Wessels: I completely understand where you're coming from. While this project is released under my name, the involvement of my former colleagues had a significant influence on its sound. It wouldn’t sound the same if other musicians had been involved; they truly left their mark on this album. When I was contemplating an album title, I also thought about something that could serve as an unofficial band name.

I see it now as Charlotte and the Obsession, similar to how Nick Cave has Nick Cave and the Bad Seeds. Despite this band dynamic, it still makes sense to release the music under my name because it originated as a solo effort. I do want to give credit to everyone who contributed, as they all did phenomenal work for this record. So, while it feels like a band when we perform live, I still retain a lot of the responsibility for the project.

Your previous albums were less metal-focused, but The Obsession marks a return to heavier sounds. What led you back to your musical roots?

Wessels: It's actually more relevant to ask why I didn’t explore metal on the first two albums. Those records were compilations of songs I released on Patreon, which I created with digital tools like a MIDI keyboard. I started this as a side project from Delain, a place for any songs that weren’t metal. I was saving the heavier, symphonic metal pieces for potential Delain projects.

On the second album, Tales from Six Feet Under, there were already a few songs like Human to Ruin and The Phantom Touch that leaned more toward metal. But since these were made with digital instruments, we couldn't emphasize the drums, guitars, and bass as much because they were programmed, which would have been noticeable in the mix.

For The Obsession, the process was different because I was working with live musicians again. I knew from the start that this was an album I wanted to play live. That intention influenced the songwriting, making it naturally heavier. Having musicians like Timo (Timo Somers, ex-Delain, Guitar) work on the guitar arrangements and Joey (Joey Marin de Boer, ex-Delain, Drums) and Otto (Otto Schimmelpenninck van der Oije, ex-Delain, Bass) adding their touch made a significant difference. This album reflects the music that truly makes me happy, freed from the limitations of working alone in my basement during the pandemic.

Do you find working through personal issues in music helps bring you back into balance?

Wessels: I honestly can't remember the last time I felt balanced, but writing music definitely helps. When I have recurring thoughts or fears, putting them into a song allows me to process them. At the very least, I turn something negative into something creative, even if the feelings don’t entirely go away. It also makes confronting these issues a little less daunting. Writing about them and shaping them into a song is a way to actively work through them.

If you had to choose, do you have a favorite song on this record?

Wessels: I’d say The Exorcism. I love all the songs for different reasons, and Chasing Sunsets"was my favorite for a long time. But The Exorcism feels the most personal, and it's also my favorite to perform live.

Simone Simons (EPICA) and Alissa White-Gluz (Arch Enemy) joined you on two tracks. Why did you choose to work with them again, and how was the experience?

Wessels: It was an amazing experience. For Dopamine, it was quite natural to work with Simone because the song is about a topic we bonded over. When I first released the song on Patreon, Simone told me how much she loved it. It felt right to have her join me for the album version. As for Alissa, we've collaborated several times, often on songs inspired by famous poetry. Ode to the West Wind is based on a poem by Percy Shelley, so it fit our ongoing theme. Alissa was incredibly busy but still moved heaven and earth to make it happen, and I’m really grateful for that.

The gospel choir on Praise adds a unique layer to the album. What inspired you to include it?

Wessels: From the first notes of Praise, I felt a gospel vibe, not just because of the word praise but due to the overall sound of the track. I decided to embrace that feeling and take it as far as I could. We brought in G-Roots, a talented gospel choir, to record the ending with improvised adlibs. I was blown away by what they brought to the song, and I’m very excited to hear how people respond to it.

Are there any musicians you’d like to collaborate with in the future?

Wessels: There are definitely a few, but I won’t say who in case I jinx it! (laughs) Though, I’d be thrilled if I ever had the chance to sing a ballad with Nick Cave.

You're supporting VOLA on their European tour. Do you have plans for a headline tour?

Wessels: Eventually, yes, but for now, it makes sense to do support slots and special guest spots. We do have some shows lined up, like the release show, but at this stage, I want to reintroduce myself and reach new audiences. Supporting VOLA is a great opportunity to do just that, and I’m personally a big fan of theirs, so it's exciting.

Is there a song you’re most excited to play live from the new album?

Wessels: I really enjoy performing The Exorcism. It’s already been part of our set for a couple of shows, and I love singing it. I’m also excited about Praise and the new version of Soft Revolution.

To wrap things up, what is your current obsession, if any?

Wessels: Lately, I’ve been obsessed with the movie Poor Things and the book it’s based on. It even inspired some of the visuals for The Exorcism. That’s probably my latest cultural obsession.

Is there anything you’d like to share with your fans that we haven’t covered?

Wessels: I would just like to thank everyone for their support. The Obsession has been a labor of love, and it's amazing to share it with the world. I hope that people find something meaningful in it, whether it’s a lyric that resonates or a melody that sticks with them.