Its folk verses later explode in an incredibly agressive hook with quite the jumpscare fashion, which may scare the hell out of a lot of listeners (seriously try showing someone the track with the volume a bit high saying tha Chelsea is this very cute folk singer, it should be fun). A lot of the tracks here build up for then to have a pretty satisfying explosion, one of the highlights of this ability would be Twin Fawn. Of course, nothing here stays in the same place sonically, there are still some folk-ish build ups like on the track Twin Fawn, a space-rock influence on Static Hum, the gothic eletronics on Offering and even a break from her melodic vocals in the track Vex with some guttural work from Aaron Turner (Isis, Old Man Gloom), so she still manages to bring quite a bit of variety to the table while staying in the metal spectrum. This time, she is bringing guitarist Troy Van Leeuwen (Queens of The Stone Age, Failure), drummer Jess Gowrie (Happy Fangs), who only breathe more life into the mix, all wrapped up in a hellish production by Converge's Kurt Ballow. In Hiss Spun, she is as sinister as ever, but now fully diving in a doom/black metal instrumentation while keeping her melodic and beautiful voice on top of it, creating once again a very dynamic sound through that contrast. 2015's Abyss combined all of the elements that Chelsea had used to convey her dark, ominous tone, through tracks that combined doom folk, dark eletronic, gothic rock and metal in a more homogenous formula. 2015's Abyss combined all of the elements that Chelsea Wolfe has been growing consistently darker, and the quality of her albums, better. Chelsea Wolfe has been growing consistently darker, and the quality of her albums, better.
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