I don’t think I was the only one who was slightly shocked when Martijn Westerholt dissolved Delain in 2021. It wasn’t that long since I’d seen them play a fabulous show in Bristol in of their sixth album Apocalypse & Chill. Westerholt initially stated that the spirit of Delain would live on but in a solo project form. Singer Charlotte Wessels was diplomatic in her exit, moving on to her solo career but commenting “I hope that Delain remains a positive force in everyone’s lives. We Are the Others, always will be, and none of this changes that”. Two years later and Delain return very much as a band, with Westerholt, founder, keyboardist, and songwriter, ed by original guitarist Ronald Landa and original drummer Sander Zoer, new vocalist Diana Leah and bassist Ludovico Cioffi. The band’s seventh album Dark Waters sees a new chapter in the band whose origins stretch back to 2002.
First impressions are good. The trademark big sound is present and correct, with plenty of bombastic delivery combining with the orchestral arrangements that Delain have always included as an essential part of their sound. Leah fits in neatly, her soprano voice working well against the backdrop of the symphonic metal that swirls about her. The impressive opening song “Hideaway Paradise” is catchy, memorable, a little bit poppy in feel, and full of energy. Leah’s first vocals for the band are confident, her delivery solid. The album flows organically, the compositions well structured and memorable. “Beneath” is likely to be a fan favourite with some guest vocals from Paolo Ribaldini, whilst single “The Quest and the Curse” is already firmly rooted in the psyche. Maintaining that steely crunch has always been a trademark of Delain, and even on the ballad-like “Mirror of the Night” which features Within Temptation guitarist Ruud Joile, the guitars ensure that this never slips.
Faced with retaining the old Delain sound and providing a fresh start for the band, Westerholt has cleverly combined the synths, symphonic elements with a rockier edge. It’s a fusion between semi-Eurovision and heavier sounds which works very well throughout. Leah’s performance, as stated earlier, is confident and she brings a bright, vibrancy to the songs. It’s the instrumental elements where Delain often move into their most majestic. There’s a central focus on Westerholt’s keys on “Tainted Hearts”, whilst “The Cold” sees choral parts adding breadth and depth. And there are surprises. “Moth to a Flame” hammers along with an upbeat tempo that combines delicious hooks with a combination of driving riffs that allow you to head bang, punch the air or simply singalong.
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It’s a tribute to Westerholt’s song writing that each song retains the Delain style but provides the variation that ensures that the band remain amongst the best in the genre. The songs aren’t overly lengthy, the longest being the opus “Invictus” at just over five minutes in length. It’s an ambitious signal – evidence that Delain are once more a force to be reckoned with. Few bands bring the rock opera in a style that keeps the attention focused but Delain do that here. Choirs, sweeping orchestral movements, a huge stomping beat and a vocal combination of Leah, Ribaldini and ex-Nightwish man Marko Hietala make it a stunning piece that works on every level.
I had my reservations about the future of Delain when they imploded. Dark Waters shows that they are once more a band of significance, and that will be enormously welcomed by their armies of fans across the globe.
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Dark Waters is out on February 10th
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