Chelsea Wolfe - Hiss Spun (Sargent House) 2017
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Chelsea Wolfe has bridged the gaps between the folk, industrial and doom metal that have tinged her music since The Grime and the Glow. In a category of her own making that constantly straddles the worlds of acoustic guitars and distortion, she has managed to craft an album that reflects her influences, her past and her audience.
The gut-wrenchingly downtuned guitars of Ben Chisholm and Queens of the Stone Age’s Troy Van Leeuwen on “Spun” immediately set the tone for Hiss Spun in its entirety: a blend of Wolfe’s pristine vocals, suffocating bass and an overall feeling more abysmal than Abyss. Moving from the veritable darkness of the opener to “16 Psyche,” which is, if possible, a doom-pop song, Wolfe asserts her dedication to the weight that exists throughout the album. On the lighter, more uptempo “Vex,” SUMAC’s Aaron Turner lends his thunderous roar to contrast the airy quality of Wolfe’s voice. Past the atmospheric, instrumental interlude of “Strain,” the first moment of serenity seems to appear on “The Culling.” Quickly, though, the song becomes a powerful love song that stings and numbs the heart.
“SWEET DEAD EYES, I LONG TO HEAR YOU AGAIN, SWEET DEAD EYES, I LONG TO SEE YOUR FACE”
Nearing the halfway point, “Particle Flux” re-enforces the importance of Ben Chisholm’s electronic atmospheres and Jess Gowrie’s drumming while showcasing Wolfe’s immaculate vocals most clearly thus far on the album. Continuing the ascent from the introductory gloom, “Twin Fawn” is hauntingly beautiful and soft before exploding into a chorus of noise and apparent lost love and retreating back to a state of serenity. “Offering” explores “dark” in another of its forms with Chisholm’s Reznor-esque soundscapes cradling Wolfe’s vocals. Perhaps having reached the peak of the record, “Static Hum” dives down into a place of shadowy figures while Bryan Tulao’s guitar calls in the distance like a voice reminding the track to return from its heights; like “16 Psyche” and “Twin Fawn,” it possesses a monolithic chorus that is chill-inducing. As the album begins to close, another noise/industrial instrumental-based interlude appears as “Welt,” where Wolfe repeats the “Flux, hiss, welt, groan,” lyrics heard earlier in “The Culling.” When it seems that no ballad can manifest, “Two Spirit” floats in on acoustic guitars and elicits tears.
“I’LL BE SCREAMING THROUGH THE AFTERLIFE, I’LL BE HUNTING FOR YOU, BURIED UNDER FLOWERS”
Hiss Spun closes with the abrasive, aptly named “Scrape.” Evoking senses of early Marilyn Manson and Youth Code, the song is perhaps the furthest departure from past material. Wolfe’s soprano beautifully juxtaposes against the industrial world falling into chaos behind her. The story of the record is linear as it rises, falls and sees light for one last time before annihilation. Every second is necessary. Each word belongs. Nothing is wasted or misplaced. Hiss Spun sees Chelsea Wolfe at her most cohesive, brave and innovative.
“SO STOP RUNNING FROM THE WEIGHT OF EXISTENCE, SHOW ME YOUR INSIDES, SHOW ME WHAT’S UNDERNEATH, SHOW ME YOUR BRUISES, BE YOUR OWN GOD”
That is exactly what Chelsea Wolfe has done.