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#albumoftheday / REVIEW: CHELSEA WOLFE: ABYSS

For me, Chelsea Wolfe’s albums have always been more about an overall vibe than specific songs taken individually.  I do prefer certain songs, yes, but within the context of her albums.  They’re not songs I’d necessarily take and put on a playlist.  (They don’t necessarily play well with other artists.)  I have to be in the mood to listen to a Chelsea Wolfe *album* if I’m going to listen to her at all.  To that end, I’ve been in the mood to listen to her quite a bit since Abyss came out; it’s a perfectly moody ride. Of all of her albums, I suppose you could say that this one is the most single-minded because there are a few choice cuts that could be singles (“Grey Days,” “Simple Death,” “Carrion Flowers”), but her music is still very avant garde and most likely to get airplay on stations that specialize in that.  (I suppose alternative radio might touch a couple of these songs but I don’t think it’s all that likely.)  But YOU will likely play them often if you like dark and haunting music.  Abyss is what Tori Amos might sound like if she died and went to hell and recorded an album there.  If that sounds appealing, you will embrace this like a lover.  If that scares you, then chances are it would give you terrible nightmares.  Personally, I admire Chelsea for going to such gloomy places in her mind, pushing herself into the shadows to expose the most brutally honest thoughts at her core.  She’s certainly one of the most fascinating artists I know of.

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Paris365

An entertainment journalist for 20 years, Michael McCarthy was a columnist and contributing editor for the magazines Lollipop and LiveWire. He co-created and wrote for Cinezine, one of the '90's most popular movie E-zines. The only time he's not listening to music is when he's watching television shows and movies or reading, usually music magazines.

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