Posts Tagged ‘Chelsea Wolfe’

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Relapse Records have released a video showing Myrkur’s Amalie Bruun and Chelsea Wolfe performing their haunting new track Funeral. The song features on Myrkur’s new album Mareridt which will arrive on Friday (September 15th). The video was filmed in hotel room in Las Vegas and follows the release of Ulvinde and Måneblôt from the follow-up to 2015’s M.

Mareridt was recorded between Copenhagen and Seattle with producer Randall Dunn, who has previously worked with artists including Earth and Sunn O))) and is said to be “a rich juxtaposition of the dark and the light, the moon and the mother earth, the witch and the saint.”

Mareridt will explore “deeper into the mysterious and the feminine with compositions that further progress Bruun’s visionary blend of metal with gorgeous, stirring melodies, dark folk passages, choral arrangements and superb, horrific beauty.”

Chelsea Wolfe, meanwhile, will release her fifth studio album Hiss Spun on September 22nd via Sargent House Records.

The forthcoming album from Chelsea Wolfe “Hiss Spun” is expected to hit stores September 22nd through Sargent House Records. The 12-track collection, the gothic rocker’s sixth album overall following 2015’s “Abyss” is being teased today with a song called “Vex”.

Wolfe discussed the track at length in a press statement:

“Every day, at dawn and dusk, a mysterious hum resounds in the deep sea for about an hour. The source of this hum is unknown, but it may be a kind of instinctual guide to the creatures who live in those dark depths, to rise and feed, surviving another day.

I follow my own hum, pushing forward despite anxieties, nightmares, and scavengers that try to pull me down into their depths. I also acknowledge my own fragility in contrast to my own strength and anger.

‘Vex’ began almost as a black metal song, with a pummeling blast beat, then Ben (Chisholm) and I stripped it back to a more industrial electronic sound. Once we were in the studio, Jess Gowrie’s drums and Troy Van Leeuwen’s guitar parts began to shepherd it back toward its heavy origins.

I knew from the beginning that I wanted Aaron Turner’s voice somewhere on this album, and could hear him in my head on ‘Vex.’ I had already recorded my vocals for the song but decided to send it to Aaron without them on. Happily, the first time we played it back with both vocal parts they fit together in a very compelling way.”

Chelsea Wolfe new album Hiss Spun

Chelsea Wolfe has just announced a new album. On September 22nd, she’ll release Hiss Spun via Sargent House Records . The album was recorded by Kurt Ballou of Converge, and it features contributions from Queens of the Stone Age’s Troy Van Leeuwen and Sumac’s Aaron Turner.

““The album is cyclical, like me and my moods,”” Wolfe says of the album in a press release. ““Cycles, obsession, spinning, centrifugal force—all with gut feelings as the center of the self.” And it’s an album that Wolfe sees as a kind of exorcism. “I’m at odds with myself…”

Wolfe has released the first single, “16 Psyche,” which you can hear below. She’s also announced a fall tour, all dates of which feature opener Youth Code.

From the album “Hiss Spun”, out September 22nd, 2017 on Sargent House. Featuring Troy Van Leeuwen on lead guitar.

Thematically, Pain Is Beauty is said to be largely about idealistic love though Wolfe has also stated “It’s not a conceptual album. There’s a lot of different things it’s about: it’s about ancestry, it’s about nature, it’s about tormented love and sort of overcoming the odds. There’s a lot of different themes on this album.” According to Wolfe, the red dress she is wearing on the album cover represents the lava flowing from a volcano. Regarding the album title, Wolfe admitted, “…there’s always gonna be situations that we go through that are really hard and we just have to kind of be strong, and if we get through to the other side, then we become wiser people and our lives become more beautiful.  “Pain Is Beauty, her fourth album in three years, confirms her steadiness as a singer-songwriter of gothic intention, drawn to romantic fatalism and beautiful ruin.

Taken from the album “Pain Is Beauty” released September 3rd, Macabre Haunting and Beautiful, “Pain Is Beauty” is the fourth studio album from American singer-songwriter and eponymous band, Chelsea Wolfe released on September 3rd, 2013 through Sargent House Records

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Couple With Records

STONE ROSES –  All For One 

The Stone Roses are joining in this release tomfoolery with a brand new single,
The band left the brief announcement on their facebook page and no other details are forthcoming at this point in time. one can only presume that your local record emporium won’t be working overtime with physical product ready at ’20 hundred hours’ – rather this will, at least initially, be a digital release. Hell, maybe they’ll just bung something up on YouTube or Soundcloud – who knows! Labels and artists do play fast and loose with the phrase “releasing a single” these days

The Mancunians have a number of shows planned for this year including four nights at Manchester’s Etihad Stadium with a slightly more rock ‘n’ roll pedigree, Madison Square Garden at the end of next month. The Stone Roses’ last single was Begging You from late 1995 which peaked at number 15 in the UK (although a four-track live EP, Crimson Tonight, was issued in Japan and Australia).

Image of Cate Le Bon - Crab Day

Cate Le Bon will releases her fourth album Crab Day ovia Turnstile on LP, CD. Recorded at Panoramic House studio, West Marin, California last spring, Crab Day was produced by Noah Georgson and Josiah Steinbrick.

According to Cate: “Crab Day was lovingly formed in the mouth of the Pacific Ocean, as it quietly mocked us with its magnitude. It’s the sound of the ‘accidentally on purpose’ coming together of the right people at precisely the right time in an environment that furnished and fuelled the abandonment we felt effortlessly. It’s a coalition of inescapable feelings and fabricated nonsense, each propping the other up.Crab Day is an old holiday. Crab Day is a new holiday. Crab Day isn’t a holiday at all.”

BAT FOR LASHES  –  The Bride

Bat For Lashes are back in July with their fourth album The Bride,
The ‘band’ is of course Natasha Khan and the new record sounds promising; a concept album that follows the story of a woman whose fiancé has been killed in a crash on the way to the church for their wedding. In the narrative ‘The Bride’ flees the scene to take the honeymoon trip alone, resulting in – we are told – “a dark meditation on love, loss, grief, and celebration”.

LOLA COLT  –  TWIST THROUGH THE FIRE

Lola Colt are a London 6 piece band. With roots in psych, influences in vintage film and cinematic sound and the use of unusual instrumentation such as Shahi-Baaja, Darbuka and Harmonium. There’s a depth and atmosphere in their music akin to a film noir soundtrack. Frontwoman Gun Overbye’s lyrics add another spiritual dimension, formed as standalone pieces of poetry on themes of hypnotism and heartache and merged later with the band’s enveloping soundscapes. The new album was self-recorded and produced in James Hurst’s London studio. Recreating the magic of the 6 piece live, much of the album began as spontaneous studio sessions, laying down ideas and treating the music making process initially as a fluid journey and an outpouring of creative ideas, before the borderline perfectionist band spent a year re-working the songs into the fully formed album you hear today.

BRIAN JONESTOWN MASSACRE -BOUT DES DOIGTS

Recorded in March 2016 in Anton Newcombe’s studio in Berlin, Anton gathered Dan Alliare (drums), Colliin Hegna (bass), Joel Gion (tambourine), Ricky Maymi (guitar) and Ryan Van Kriedt (guitar) to record this track ‘Bout Des Doigts’ and ‘Fingertips’. ‘Bout Des Doigts’ features Rike (Friedrike) Bienert providing the vocals, ‘Fingertips’ vocals are provided by Tess Parks.

GOGGS -GOGGS

Chapter Two: We find our man stumbling through the darkness in the garden of illusion and fame. Chris Shaw smokes the microphone while Ty Segall and Charles Moothart trade lizardian licks and skin hits. Guest Goggs include Cory Hanson, Mikal Cronin and Denee Petracek. Ten tracks of misanthropic noise to bring home to mom’s house on fire. Boots to your face after the high speed chase, Then! A death trip down memory lane. The lead actor dies first and the shotgun shooter flashes chipped teeth. Created in Los Angeles in the middle of the summer of 2015: three years of planning, thirty days of writing, one week of ripping. A severed finger on the button, the player ends the game. Final notice has been served.
LP – With Download.

PINEGROVE  – CARDINAL

After a number of different releases and years of touring, Montclair, New Jersey’s Pinegrove have offered their finest work to date with their newest LP, ‘Cardinal’. The band’s captivating blend of indie rock, pop and country elements is more vivid, fine-tuned, and addictive than ever before. Vocalist / guitarist Evan Stephens Hall along with brothers Zack Levine (drums) and Nick Levine (guitar) form a core that has been playing together since early childhood. Painting his emotions onto these songs with colourful and kinetic strokes, Hall moves through Cardinal’s eight songs with unforgettable energy and passion, with a vocal performance that is pleasantly reminiscent of Will Oldham and Built to Spill’s Doug Martsch. Highlighted by the downtrodden nostalgia of twangy opener ‘Old Friends’ and the climactic refrain of ‘Size of the Moon,’ where the confession “I don’t know what I’m afraid of,” is just as much of a sing-a-long as it is an emotional breakdown, moods don’t stay in one place for very long on Cardinal – they are carefully crafted and revisited throughout to continually evoke the album’s central themes of memory, language, and home.
2CD – Double CD Version with a bonus 5 track CD and signed by Evan.
LP – With Bonus 5 Track CD and signed by Evan.
Tape – No extras.

CROWS  –  UNWELCOME LIGHT

Recalling the rhythm of Brian Jones Town Massacre, the unrelenting drive of Savages and the vocal warble of The Cramps, Crows debut EP, ‘Unwelcome Light’, sees the band at their most frenetic and offers an insight into the intensity and darkness the band produce.

CHELSEA WOLFE – UNKNOWN ROOMS: A COLLECTION OF ACOUSTIC SONGS

Northern California native Chelsea Wolfe’s sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk — a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life’s darker corners in order to reveal the unlikely truth and beauty hidden within. In a way, Wolfe is on a journey to the surface of her own music. 2012 finds releasing her first acoustic emanation on Sargent House, titled Unknown Rooms: A Collection of Acoustic Songs.The experience is a secret shared, a side of our heroine rarely seen or heard, and the making was as intimate as it gets: recorded in the woods of Northern California and at Wolfe’s L.A. home, co-produced by her bandmate Ben Chisholm, with players Ezra Buchla of Gowns (viola), Andrea Calderón of Corima (violin) and Daniel Denton of Gothic Tropic (bass).

Chelsea Wolfe’s “Hypnos/Flame” is out today on Sargent House. The two songs are b-sides from the Abyss recording sessions, and available now on 7” black vinyl, digitally, and as part of a special digital deluxe version of Abyss. All formats include previously unreleased demo versions of album tracks “Grey Days,” “Simple Death,” and “Survive.” Check out the various versions below.
Hypnos / Flame 7” — includes download card with 3 additional Abyss demos as bonus tracks. Available here in the US or here for the UK. Ships worldwide. Wolfe and her band kick off their North American headline tour at the end of April, and continue on through June. Set lists will include songs from Apokalypsis to Abyss. London duo and label mates A Dead Forest Index will be joining on most dates, supporting their debut In All That Drifts From Summit Down.

Hypnos / Flame (Digital) — 5 track digital release includes both b-sides plus 3 Abyss demos as bonus tracks. Available digitally on iTunes, Amazon or Bandcamp.

Abyss (Deluxe Edition) (Digital only) — includes full Abyss album plus 5 track “Hypnos / Flame,”

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We’re excited that Chelsea Wolfe made the cover of New Noise Magazine, In anticipation of the release of Abyss, the new album from Wolfe and the track “After the Fall” a dystopian love song that also attempts to capture the frustration of being stuck inside a dream, unable to wake up. Abyss came out last August on Sargent House Records. There is not, and never has been, anyone else quite like Chelsea Wolfe. Ever cloaked in a nigh inconceivable darkness, she bridges gaps previously thought to exist in difference dimensions, incorporating forms such as gothic folk, post-grunge and baroque-pop like normal people put on different shirts.

Abyss is the perfect title for her fifth full-length. Producer and longtime collaborator Ben Chisholm helped make this her heaviest album yet, in sharp contrast to 2012’s acoustic Unknown Rooms and 2013’s rather distant-sounding  Pain Is Beauty. In addition to contributing synth, bass, piano, and photography to Abyss, he ramped up its dark Trent Reznor-esque electronic edge, and the effect is palpable. It feels like being crushed for most of its running time, yet there is still room for the little moments of introspective character, for lilts of haunting strings and that hint of vulnerability on Wolfe’s spellbinding vocals. Simply put, Abyss is uniquely transcendent.

Chelsea Wolfe On The Cover of New Noise Magazine Issue #19!

 

Chelsea Wolfe

In her forthcoming LP Abyss (out Aug. 7th) these last three months, for singer-songwriter Chelsea Wolfe is slowly becoming one of the years most intriguing releases — and one that’s an follow-up to her 2013 breakout, “Pain Is Beauty”. She continues to entrance with the release of “Grey Days,”  see earlier post .

As with her fourth full-length’s previous releases — “Iron Moon,” “Carrion Flowers” and “After the Fall” and “Grey Days” utilizes its droning, gothic production to dissect the nocturnal mind’s innermost regions. Constructed around a looping drum kick and haunting viola by longtime Chelsea Wolfe collaborators Dylan Fujioka and Ezra Buchla, the track doesn’t bear the same pronounced aggression as the California-based musician’s other fare. More a sorrowful lullaby built on industrialized distortions and wispy, howling vocals, it’s just as captivating.

“For this album I was interested in the subconscious, or unconscious mind, approaching it like a warehouse full of memories and emotions to be confronted,” Wolfe has said, “The title [‘Grey Days’] came from a conversation with someone I met on the road who had been in prison. He called that time his ‘grey days.’ It’s about something holding you back.”

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“I’m drawn to the peace in feeling nothing, but I’m also afraid of feeling nothing,” Wolfe says of this dark dichotomy. It’s one seen throughout her body of work. “The song is a battle.”

Chelsea Wolfe - Abyss

Chelsea Wolfe’s last record, Pain Is Beauty, eschewed the cavernous atmospheres and primal instrumentation of her most distinctive output for cold, calculated electronic hums more akin to a record by The Knife. But Abyss, however, serves as the perfect marriage between these two core characteristics of her aesthetic. Tracks like the harrowing “Grey Days” transmit Wolfe’s intimate lyrics through the record’s sonic hollows, gnarling bass and chilling, mutated cries echo and reverberate through Abyss’ massive scope. Wolfe’s music has always appreciated and nurtured the power of cinematic cues and moods to create compelling musical narratives (as evidenced by her vivid music videos, and 2014 Ingmar Bergman-esque short film Lone), and with Abyss, it’s clear that her music has been sized-up for maximum screen potential.

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The visceral personal details and graphic authenticity of the singer-songwriter are characteristics which Wolfe has been adopting more and more into her art as of late. Abyss marks an emotional lull in her career, acting as the tumultuous aftermath of Pain Is Beauty, channelling the viciousness of her early output, but feeling especially singular. As the odd-one-out in her catalogue, Abyss is Wolfe’s most emotionally direct, with unequivocal mourns for lost lovers summoning the titular abyss and beckoning its maw with each overcast delivery. Until finally, you are swallowed, and subjected to the nightmare Wolfe describes in “Simple Death”, where you are screaming, but you can’t wake up.

The track “Carrion Flowers” from the forthcoming Chelsea Wolfe album tiltled “Abyss,” out on August 7th, 2015 on Sargent House Records.

She’s the reigning dark priestess of goth-scarred art rock, romanticizing “Grey Days” and “Simple Death” in hazy, haunting songs that span grinding industrial, sparse folk, doomy metal and droning noise. It’s foreboding stuff Queens of the Stone Age took her out on tour and the producers of Game of Thrones chose a track of hers 2013’s “Feral Love”) for the series’ Season Four trailers. Wolfe’s latest record, Abyss, is her most intense and dynamic yet. “We’ve been touring a lot for the past few years so I think naturally I had it in my head that I wanted my new album to have songs that would translate well live,” she says. “And what I was writing about was really heavy, so even the more subdued songs have that feeling to them.”

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She SaysThe album’s heavy subject matter includes Chelsea Wolfe’s lifelong struggle with sleep paralysis, a phenomenon in which a person is unable to move or speak while passing between wakefulness and slumber; it’s often accompanied by a sensation of bodily pressure or choking, as well as terrifying hallucinations. “I’ve always had sleep and dream issues, since I was a kid,” Wolfe says. “I’ve dealt with sleep paralysis for a long time and recently starting talking about it with other people, comparing experiences. I didn’t set out to channel it into the music, it’s just, I think having that connection to an in-between state for so many years started creeping into the way I wrote about things — sometimes the anxiety or strangeness of it would follow me into my day.”

Wolfe strings gossamer vocals over metal-on-metal scraping and piston-pumping percussion on Abyss’ unnerving yet strangely seductive opener “Carrion Flowers.”  Thanks to Rolling Stone magazine,