For years, it has been clear that Chelsea Wolfe is a mega-talent with major musical ambitions. You can hear it in the progression of her full-length albums. On 2010’s The Grime and the Glow, she created a particularly dark strain of folk music in glorious lo-fi. The next year, she upped both the drama and the production value on Apokalypsis. And then, for 2013’s Pain Is Beauty and 2015’s Abyss, she began introducing more electronic and noise elements. On Hiss Spun, Chelsea Wolfe’s songs are as heavy and melodic and weird and magical as ever
The word ‘artist’ is used with witless abandon in music, but with Californian songwriter Chelsea Wolfe it feels wholly appropriate. Wolfe is an originator and creator, over five albums she has constructed an intricate, dark body of work, one capable of crossing vast spaces, from gothic folk to black metal, while still feeling part of the same awe-inspiring aesthetic.
2015’s Abyss saw the Sargent House-signed songwriter develop a cavernous dynamic presence through gigantic, dystopian riffs, all contrasted with a tortured Cocteau Twins vocal. Now she has returned with Hiss Spun – a record that bathes in the bleakness of the current global outlook and delves ever deeper into musical extremes.
The Fat Angel Sings 