(Loma Vista)
The genre-blending Californian artist casts off past toxic influences with a powerful set of tender, brooding and emotionally charged songs that wouldn’t feel out of place as festival anthems
When Chelsea Wolfe was interviewed by the Guardian in 2015 about her fourth album, Abyss, she revealed that her music had been informed by the bouts of sleep paralysis she’d suffered from since childhood. The condition – a transitional state between being awake and asleep – affects sufferers in different ways. Some wake up feeling paralysed, others see ghosts or demonic figures. For the California-born singer-songwriter, it meant “waking up, and you can move your body and your eyes are open, but there are figures and people from your dreams still present in your room”.
No surprise, then, that her music – a blend of drone, alt, folk, industrial and doom metal – had ended up so spookily unsettling. She appeared on album covers with pupil-less eyes, spoke in interviews about “following the path of witchcraft” and even covered Norwegian black metal act and convicted arsonist/murderer Burzum. She did have a sense of humour about it all, however, telling one interviewer, with a chuckle: “It’s not party music.” Since then, though, much has changed. Wolfe left Los Angeles for the mountains above the city – where she’s finally been able to enjoy a good night’s sleep. Sobriety since 2021 has also brought what she calls “a new clarity”. Both developments inform The Dark.
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