PAIN IS BEAUTY

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.