Abyss
Chelsea Wolfe plays folk music but counts plenty of metalheads among her fans. Abyss, her heaviest (and best) collection to date, was produced by John Congleton. Featuring more musicians and a deep, distorted doom guitar, the record is expansive and teeming, adding an anthemic dimension that you won't find in her other work.
Chelsea Wolfe has made an album the unites all her previous work, and then turns the dial up as far as it will go. Abyss, the new record from California’s foremost purveyor of goth/doom/folk/ambient/(insert multifarious modifiers here), sounds like a combination of the many different muses Wolfe has turned to…
Gothic doom folk, anyone? Wolfe caters to the darkest side of her canon.
On Abyss, Chelsea Wolfe brings the heaviness in her music to the fore in a way that's more natural, and more compelling, than merely "going metal."
Density, weight and punishing intensity threaten to entirely submerge Chelsea Wolfe’s fourth album in a cloak of gothic camouflage.
World-crushing desolation has never sounded as beautiful as it does in the hands of Chelsea Wolfe on her fifth proper album. The master mood...
The first taste of Abyss was "Iron Moon," dropped and drop-tuned upon the Internet like the force of a thousand doom-metal bands' extraneous guitar rigs.
Chelsea Wolfe inhabits that strange musical realm between folksy singer-songwriter and industrial doom rocker. Over four albums, Wolfe has nearly
Gloomy neo-folk artists Chelsea Wolfe brings a newfound intensity and horror to her sound on her new album Abyss.
A review of Abyss by Chelsea Wolfe, available August 7th worldwide via Sargent House Records.