‘Unknown Rooms : A Collection of Acoustic Songs’ is Chelsea Wolfe‘s third release and it’s a softer inspiring addition to her discography. Prior to ‘Unknown Rooms’, Wolfe was known for a blend of doom rock and gloomy folk that usually featured a full band. By comparison the sound of ‘Unknown Rooms’ seems intentionally spartan with Wolfe‘s voice left to fill the space; and fill the space it does.
Chelsea’s gripping, pained yet beautiful voice has an unassuming way of tapping into your emotions. When Wolfe sings you feel the emotion hit you like a cold chill up your spine. She adds unique and memorable inflections to words and changes how she sings song to song to suit the material. Sometimes she offers a whisper, a growl, chanting, loud, soft… Her voice is utilized as an impressive dynamic music tool.
Despite the gentler musical direction of ‘Unknown Rooms’, overall the album sounds just as grim and foreboding as any of Wolfe‘s previous material. The instrumentation on ‘Unknown Rooms’ accentuates and harmonizes around the vocal direction of the songs. The stripped down sound allowing Wolfe‘s voice to be the focal point. This album feels very personal as if reading someone’s diary. Wolfe bears her soul both lyrically and vocally exposing an intriguing and delicate side of herself. The songs focus primarily on matters of the heart and nature.
‘Unknown Rooms’ starts off with the remarkable and lovely song ‘Flatlands’. It has a sinister twang coupled with Wolfe singing against commercialism: “I want flatlands / I don’t want precious stones/ I never cared about / Anything you’ve ever owned / I want simplicity”. A lone violin churns elegantly in the background complimenting Wolfe‘s notes like a stringed background singer. There is a live version of ‘Flatlands’ that was recorded for exclaim! that you can find on youtube. This version best exemplifies how moving and powerful Wolfe‘s voice can be. The song drips with feeling and lingers on your mind well after it is done.
Wolfe really channels her inner demons on the haunting tracks ‘I Died With You’ and ‘Boyfriend’. She sounds like a sad apparition calling from the grave with her eerie cries of “Boyyyyyyfriend….Boyyyyyfriend…”. ‘I Died with You’ is short and evocative, possibly recalling the final moments with a lost love. With ‘Hyper Oz’ Chelsea sounds like a trapped soul calling from another realm. The awkward strum strum strum sounds as if from tortured instruments, it is profoundly unnerving. By comparison the delicate piano melody of ‘Our Work Was Good’ and slow thumping ‘Appalachia’ seem upbeat and inviting. The collection of songs string together well under a common somber idiom. Everyone won’t find the omnipresent grim vibe radiating from ‘Unknown Rooms’ appealing but that said, I think some of the material is attractive enough to warrant a broader audience while existing fans of Wolfe will discover another facet of her musical ability.
Chelsea Wolfe is something unique and special. She is a hidden gem with a chilling voice that creates beautiful, deeply haunting songs that can strike at your emotional core.
Released on November 5th through Sargent House.
Posted by Dave Guzda.
