Photo courtesy of GiankM via Wikimedia Commons.
By Sarah Berger ’27
Staff Writer
Chelsea Wolfe is an artist who has done a bit of everything, from collaborating with metalcore band Converge and dark folk act King Dude to co-writing the soundtrack for the 2022 horror movie “X” starring Mia Goth.
Now, Wolfe has released her seventh album, “She Reaches Out to She Reaches Out to She,” which came out on Feb. 9. The album combines the stylings of early Grimes’ electronica with those of Mitski’s emotional depth. However, Wolfe is such a unique artist that it’s difficult to find any comparison that truly encompasses her work.
Wolfe has spoken about “She Reaches Out to She Reaches Out to She” being heavily influenced by her recent sobriety and her dealings with witchcraft and ritual. It’s a heavily aesthetic album, with frequent references to nature, blood and death. It works well with Wolfe’s artistic style, which has stayed consistent since her first release in 2010 — one need only to look at her past album covers to see.
The album’s lyrics paint a rich picture of Wolfe’s emotional state when she wrote it, and it’s easy to see how her frequent metaphors for change tie into her sobriety. On “The Liminal,” she sings, “All you ever wanted was the liminal / All you left behind was your exoskeleton / A spectral reminder of all that we’ve become / I’m the storm and I’m the center / I’m your poison, I’m your tincture.”
She aptly expresses her feelings while maintaining thematic consistency, which is no easy feat. It’s a heavily emotive album and certainly not the place to look for easy hooks or lighthearted themes.
Occasionally, Wolfe’s tendency toward darkness can come off as self-serious. On the opening track, “Whispers in the Echo Chamber,” she croons about transformation, declaring, “This world was not designed for us / And I’ve been punished, I’ve been blessed.” While she aptly describes how the world can feel, her later “That shit does not define me anymore” comes off as somewhat trite.
The triumph of the line provides a conclusion that’s almost too simple for the rest of the lyrics. There’s a fine line between vividly exploring the depths of human misery and being sophomoric, and Wolfe occasionally toes it.
The album is very cohesive, which can be both a bonus and a detriment. The songs transition well from one to the next, but as a consequence, they also sound very similar. It doesn’t serve as a detriment to the quality of each song, but it does make the album as a whole a less interesting listening experience than it could be.
The 40 minutes slip by very quickly, and it can be easy to tune out some of the more droning songs. “Everything Turns Blue” and “Dusk” are the standout tracks. They have a nearly transcendent quality. Wolfe’s unique vocals work perfectly with the immersive and layered music. The album creates an immersive experience not meant for casual listening.