So, the second, the difficult second album. "Why difficult?" Zelda Weber would answer. "It is what it is: simple and straightforward – good." There she is again, that young, determined voice, and beneath a surface shyness, absolutely self-assured. Zelda's voice. Her instrument – ​​although not her only one. Two years ago, in 2023, she was still considered the "Next Big Thing." Her debut album, "Crude," garnered plenty of acclaim. "Die Presse" praised her vocal skills, "whose style is reminiscent of Amy Winehouse, not entirely by chance," "profil" recognized "music that thrives on retro charm but looks straight into the future," FM4 played songs like "Oblivious" and "Go!" on repeat (even Ö3 took notice!) – and Hubert von Goisern even presented her with his very own newcomer award. It couldn't have gone much better.

And now, the second album. "Rose Thorne," as it's titled, is less flowery than prickly. Yet intensely fragrant, seductive, in full bloom. This bouquet of songs was produced by Paul Gallister, whom one wouldn't necessarily have expected to find in the studio alongside a distinctive artist like Zelda Weber after his success with Wanda. But it is precisely this combination that sets her progressive soul pop—the genre Zelda herself has assigned to her creation—apart from the mass of Austrian
releases. And it could garner international attention. The switch to a new, German-based label, which will provide impetus in this direction, also points in that direction. "Rose Thorne" is certainly not an album for casual listening. It demands attention—and rewards it with depth, emotion, and substance. Zelda Weber is not only a singer but also writes her own songs, plays piano and guitar, and manages her band, The Rosettes. She also designs the artwork for her CD and record covers herself.