CHELSEA WOLFE

— First review of this album —

Our context tells us that we must be happy, that we are here to smile and enjoy life, and though that might be a nice and romantic thought, people is more attached to depression or other types of mental issues.

There are moments where we can't even pretend to enjoy anything, and that is where the anhedonia appears, to shield us from pleasure, and that's terrible. This anhedonia happened to Chelsea Wolfe, so she wrote this song and after Covid-19 times, she shared it to fellow singer Emma Ruth Rundle, inviting her to collaborate with her voices and guitar.

And the result is great. Not sure if I ever though I would review Chelsea Wolfe's music here in Progarchives, but well, now her discography is included, it's nice to write a bit about her and share her talent to the prog rock community.

This is a sorrowful track, however, it is enchanted by both Wolfe and Rundle's alternate vocals. Deep lyrics, dark times, acoustic guitars and some atmospheric sounds made by synth, an extraordinary mix because the sound is so profound and will hit you in any moment. The best part to me is where the song reaches "Isolating, bridge withdrawing; isolated I can't take it", it is so deep, indeed.

Both artists have some similarities in their music, even in their voice a little bit, which is why I believe this collaboration is great, and also is not a bad gate to enter if you don't really know their music.

I love it, I hope you like it too.

— First review of this album —

As Christina Amphlett of Divinyls intoned, "It's a fine line between pleasure and pain, you've done it once you can do it again." Wise words. Well, Chelsea Wolfe here demonstrates that pain can be beauty. Her pain, my joy, my arms, your hearse. Of course what is beautiful to one can be painful to another. I love the atmospheric gothic folk stylings of Chelsea Wolfe. Some might find this album to be too dark, slow and depressing, and even cheesy, but it has real beauty to these ears. This, Abyss, Apokalypsis and Hiss Spun are all very good albums, but this album is the one that made me fall for Wolfe (really love Abyss now). This album is such a treat for me. Part of what immediately hooked me is that the opening track reminded me of music from a favourite TV series of mine, Utopia, with music by Cristobal Tapia De Veer. Associations will vary, and not just based on what one has heard, but on other perceptions.

As I wrote in the bio, I would most readily compare her music to Emma Ruth Rundle solo albums (Some Heavy Ocean, Marked for Death, On Dark Horses) of post-rock band Red Sparowes, who Wolfe collaborated with on the single, Anhedonia in 2021. And at times there are significant similarities to Anna von Hausswolff's music. Also, fans of music by Dead Can Dance, Current 93, Coil, Nine Inch Nails, Susanne Sundfor and Swans should find Wolfe music to appeal. Jarboe sung tracks in Swans as well as her solo work would be a good reference point. I recommend to people into darkwave, gothic music and atmospheric folk-rock generally.

Every song is a highlight for me, but Reins, The Warden, Lone, Feral, House of Metal, Sick, The Waves Have Come are some of my super highlights. It's a five star album for me.