The latter of the two tracks features one of many masterful contributions to this album by Queens Of The Stone Age guitarist Troy Van Leeuwen, shortly before the industrial throb of ‘Vex’ is made all the more nightmarish when Old Man Gloom vocalist Aaron Turner makes a guttural and frankly terrifying appearance.ĭespite the plethora of guests and the handiwork of Ballou – arguably the greatest producer in contemporary heavy music – this record is inevitably Wolfe’s for the taking.
Her cooing on ‘Spun’ and honey-smooth drawl on ’16 Psyche’ contrast magnificently with droning chords and thundering drums. Recording with Converge’s Kurt Ballou in his native Salem, Massachusetts in the midst of winter, there’s something more cinematic to ‘Hiss Spun’ than Wolfe’s previous works. Inspired by American writer Henry Miller’s ‘idiot with a can opener’ proverb, what ensues is a slow-burning and suspenseful cathartic release. Part of Wolfe’s allure is her sense of mystique, but through Abyss’ pitch-dark successor, the Californian seeks to become more introspective in her art. The density and dread that it instilled elevated the singer-songwriter from a gothic folk siren to an unlikely hero of the extreme metal scene. Chelsea Wolfe’s most chilling performance yet.Ĭhelsea Wolfe’s fifth album ‘Abyss’ was the sonic equivalent of tying an anvil to your ankle and wading up to your neck into a pit of tar.
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