famously alluded when he sang that teenage angst had served him well, popular music has conditioned us to interpret certain expressions of emotional distress through an adolescent lens. Genre-bending singer/songwriter Chelsea Wolfe has been giving audiences an alternate vantage point since her career got off the ground at the start of this decade. Wolfe has always had a way of dignifying moods that we might otherwise refer to as “brooding.
Where so much of the so-called darkness in music falls into the realm of stylized affectation, Wolfe’s presentation doesn’t allow for one-dimensional readings and doesn’t fall prey to self-parody. She has always shown keen awareness in her portrayals of emotional states like apprehension and grief. On, though, woundedness becomes a launching pad for regeneration just as Wolfe’s musical vocabulary seems to be gelling more than ever before.
Elsewhere, it’s no surprise to hear Wolfe utter the lines “Afraid to live, afraid to die / Building a broken but precious web” afterBirth of Violence enfolds broader topical concerns like school shootings and environmental decline into its scope of self-reflection. But if it weren’t for a direct lyric like “You can’t fight guns with more guns / We’ll all perish that way,” you’d likely not catch that the song, “Little Grave,” which otherwise reads like a grim nursery rhyme, has anything to do with the horrors of random gun violence.
Similarly, by not disclosing who “you” happens to be on “The Mother Road,” Wolfe leaves listeners with many different doors to open and hallways to walk down. She sustains that sense of ambiguity throughout the album, which only amplifies the individual connection these songs can have with different listeners. As an example, Wolfe makes myriad references to femininity throughout—on songs like “Dirt Universe,” the title track and others—but leaves plenty of room for interpretation.
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