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Chelsea Wolfe Announces North American Tour

Chelsea Wolfe will be headlining a North American Tour in support of her new album ‘Hiss Spun’  She will be accompanied by Youth Code.

Tickets and more info HERE. 

8/18 - Las Vegas, NV - Psycho Fest at HOB * 
9/28 – Santa Ana, CA – Constellation Room 
9/30 – Los Angeles, CA – The Regent Theater 
10/2 – San Diego, CA – Belly Up Tavern 
10/3 – Tucson, AZ – 191 Toole 
10/4 – Phoenix, AZ – Crescent Ballroom 
10/6 – Austin, TX – Paramount Theatre 
10/7 – Houston, TX – White Oak Music Hall 
10/8 – Dallas, TX – Kessler Theatre 
10/10 – Nashville, TN – Exit/In 
10/11 – Atlanta, GA – Aisle 5 
10/13 – Chapel Hill, NC – Cat’s Cradle 
10/14 – Baltimore, MD – Baltimore Soundstage 
10/15 – Philadelphia, PA – Theatre of Living Arts 
10/17 – New York, NY – Irving Plaza 
10/19 – Cambridge, MA – The Sinclair 
10/20 – Montreal QC – Le National 
10/21 – Toronto, ON – The Opera House 
10/22 – Detroit, MI – El Club 
10/24 – Chicago, IL – Metro 
10/25 – St. Paul, MN – Turf Club 
10/27 – Denver, CO – Bluebird Theater 
10/28 – Salt Lake City, UT – Urban Lounge 
10/30 – Seattle, WA – The Showbox 
10/31 – Vancouver, BC – Venue Nightclub 
11/1 – Portland, OR – The Wonderland Ballroom 
11/3 – Sacramento, CA – Ace Of Spades 
11/4 – San Francisco, CA – The Regency Ballroom 

ALL Shows are with Youth Code except *

Chelsea Wolfe Premiers ’16 Psyche’ on NPR

The name “16 Psyche” conjures up images of a dusty bar, replete with spirits and spectres. But it’s an asteroid — the 16th one to ever be discovered, in fact — named after the goddess of the soul in Greek mythology. Recently, the celestial 16 Psyche has been in the headlines because of an impending mission in the 2020s to go explore the asteroid, which also bears the curious distinction of being the first scientists will visit that’s made almost entirely of metal.

The gothic-folk songwriter Chelsea Wolfe — whose last album, Abyss, held traces of metal, but who has yet to fully delve into it — is also now fully entrenched in the metal universe on her dissonant new single, “16 Psyche.” It’s the first from her forthcoming album, Hiss Spun. Behind thrumming distortion and Ben Chisholm’s throaty bass lines, Wolfe seethes: “I’ve spent, in different beds / Many moons / And that’s the way I prefer it.”

Wolfe’s and Troy Van Leeuwen’s guitars then launch into a dual hypnagogic roar as she lays herself bare: “She said, I’d save you, but I can’t…” The instrumental throttle cuts for a moment of stillness, and Wolfe’s voice goes up an octave as she finishes the sentence: “Hide.” Wolfe has always possessed a talent for dynamic songwriting, particularly concerning the theater of the soul. But the masterful “16 Psyche” is a full-on ride, and one that finds her at her most commanding and climactic yet.

The impetus for Hiss Spun stemmed from a reckoning with family history, personal life and other elements that have long shadowed Wolfe, and the resulting escapist music also functions as a kind of exorcism, an expunging of the soul. But what “16 Psyche” especially goes to show is that despite what’s going on in our own worlds and the one at large, the discovery of new ones — whether they’re made of fire or ice or even metal — is a worthy pursuit, and certainly one worth fighting for.

Hiss Spun comes out Sept. 22 via Sargent House.

Chelsea Wolfe Interview // Rock Storias

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Chelsea Wolfe es un personaje de culto. Probablemente en unos años hablaremos de ella como actualmente hablamos de Nick Cave o Siouxse.

Actualmente está promocionando su más reciente producción, Abyss, y está en el proceso de grabación de un nuevo disco que saldrá a la luz más tarde este año, en el que participará Troy Van Leeuwen, guitarrista de Queens of the Stone Age.

Tuvimos la suerte de hablar con ella para tratar de entender qué hay detrás de ésta imagen onírica que nos presenta en el escenario.

Eres de Sacramento, el lugar que vio nacer a Tower Records. ¿Ibas mucho?

¡Sí, lo hacía! Crecí en diferentes áreas de Sacramento y por un tiempo viví en Citrus Heights, donde Tower también estaba. Recuerdo haber comprado un disco de Tricky y una revista con un artículo sobre PJ Harvey, probablemente Spin.

Foto: Nick Fancher

¡Increíble! ¿Coleccionabas muchos discos? ¿Todavía lo haces?

Nunca he sido una gran coleccionista de discos, pero tengo un tocadiscos y me encanta cuando la gente me da discos. Siempre he sido más una persona del tipo mixtape y mix cd. Y ahora armo playlists en mi iTunes o Spotify. No soy una minimalista total, pero no me gusta coleccionar cosas físicas. Si siento que estoy empezando a tener demasiadas cosas, las regalo. Por eso es que nunca coleccioné muchos discos.

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Lanzaste todo tu catálogo en cassette a través de tu sitio. ¿Es nostalgia lo que te mantiene interesada en ese formato?

Hay un poco de nostalgia en eso, sí. Cuando empecé a grabar fue en una Tascam 8-track que usaba cassettes y mi papá me enseñó cómo usarla. Me enseñó el valor de ese reconfortante siseo, ese ruido blanco.

Sabemos que tu padre era músico y ha sido una gran influencia en tu trabajo. ¿Cómo influyó su música country en tu sonido?

Influyó un poco. Por lo menos porque me presentó al mundo del Country. Él tocaba con un montón de artistas de country moderno, pero yo me sentía más atraída por el country viejo: Hank Williams, Loretta Lynn, Johnny Cash, Dolly Parton. También me presentó a Led Zeppelin, Fleetwood Mac y Black Sabbath, que se volvieron grandes influencias para mí.

Y solo verlo a él y a su banda practicar en el estudio de casa fue muy inspirador – le rogué que me enseñara a grabar y empecé a escribir mis propias canciones a los 9 años.

Él siempre fue un gran guitarrista y un gran armonizador – cantaba las vocales de respaldo para su banda también. ¡Creo que heredé ese deseo de armonizarar por él! Siempre estoy agregando capas de armonías en mis propias canciones, o encontrando la armonía en cualquier canción que escucho en la radio.

Eres prácticamente una artista auto-producida. ¿Hay algún productor con el que te gustaría trabajar, o hay alguna razón específica por la que hayas optado por continuar como autoproducida?

Después de años de hacer esto, me di cuenta de que no quería comprometer mi sonido. He trabajado con Ben Chisholm como co-productor en la mayoría de mis canciones, pero al final del día, Ben sabe que mis decisiones van a ser definitivas en cuanto al sonido de la canción o el álbum. Ahora, este proyecto ha evolucionado y se ha transformado de un proyecto solista a una banda completa, pero yo siempre estoy al frente de ella. Por eso decidí mantenerla bajo mi nombre y no buscar un título para una banda.

Trabajé con John Congleton como productor en Abyss. Me sentía lista para probar algo diferente. Pero incluso cuando trabajo con un productor, siempre llego al estudio con las canciones escritas y los demos grabados. No me gusta escribir en el estudio a última hora.

Soy una gran admiradora de Nigel Godrich (Radiohead, Paul McCartney) como productor, y también de Geoff Barrow (Portishead).  Estoy definitivamente abierta a futuras colaboraciones en lo que se refiere a producción, pero tiene que ser en el momento adecuado y con las canciones perfectas.

Abriste para Eels y Queens Of The Stone Age. ¿Hay alguien con quien te gustaría trabajar, ya sea en gira, dúo o cualquier otro tipo de colaboración?

Me encantaría abrir para NIN, otro de mis favoritos junto con QOTSA. Me gustaría colaborar con mi amigo Flying Lotus en algún momento, o con Josh y sus amigos si alguna vez hacen otro álbum de Desert Sessions!

Vamos a cambiar un poco de tema. Leímos que tienes algunos problemas de sueño. En México, la parálisis del sueño es muy común (lo llamamos “que se te suba el muerto”) ¿Cómo haces frente a estos problemas?

¡Que se te suba el muerto! Qué intenso, pero tiene sentido. Yo padezco una versión de parálisis de sueño en la que me despierto y puedo moverme. Mis ojos están abiertos, pero las figuras de mi sueño todavía están en la habitación conmigo, como la sombra de una persona moviéndose hacia mí. A veces es tan malo que siento que voy a gritar y azotarme pensando que es real.

Cuando yo estaba viviendo en una parte riduosa y caótica del centro de Los Ángeles, mi condición empeoró. En ese entonces tenía unos roomies y siempre había mucha gente en la casa. Creo que estar constantemente rodeada de diferentes energías estaba empeorando mi parálisis de sueño.

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¡Guauu! Esto ha de tener mucho impacto en tu proyecto. ¿Cómo has canalizado esta energía?

Me mudé a las montañas y el bosque del norte de California, a pocas horas de donde soy. Es un lugar tranquilo y de baja población. Y mientras yo todavía trato con problemas de sueño, mi parálisis del sueño ha disminuido bastante. Me doy cuenta de que está vinculado al estrés y a las energías de otras personas, por lo que el aislamiento ayuda mucho. Sin embargo, en las giras es diferente.

Después de escribir Abyss, mi amigo Brian Cook de la banda Russian Circles estaba escribiendo una especie de resumen del álbum. Hablamos mucho sobre lo que significaba para mí y de dónde provenía. Durante ese proceso, Brian realmente me ayudó a ver que mis problemas de sueño han influído en mi música desde el principio.

Tener una interacción diaria con ese limbo, y experimentar la confusión entre lo que es realidad y lo que es un sueño, ha creado el mundo nebuloso en el que viven mis canciones. Había días en que caminaba por la calle y no podía entender si estaba despierta o soñando. También tengo insomnio periódicamente, y esa falta de sueño es casi como estar en alucinógenos. Así que naturalmente canalizé ese estado de sueño en mi música. En Abyss fue más claro, pero también es algo que aparece en mi nuevo álbum. No puedo escapar de eso.

Desde que lanzaste The Grime and The Glow has estado jugando con los sonidos y tienes muchos contrastes en tu música. En ese sentido, Abyss es tu disco más denso y oscuro.

¿A dónde quieres llegar con esta evolución en tu música?

Tomo cada álbum como viene. Acabo de terminar de grabar el nuevo, que he estado escribiendo durante los últimos dos años. Es pesado, pero de una manera diferente. Es más vivo: escribí muchas de las canciones mientras tocaba con Ben Chisholm (bajo) y Jess Gowrie (batería). Es muy pesado de guitarra, pesado de batería, pesado de bajo. Éramos los tres tocando en una habitación y viendo qué salía. Luego le pedimos a Troy Van Leeuwen de QOTSA que tocara la guitarra principal en algunas de las canciones. Fue una gran colaboración.

¿Cuándo sale?

Si todo va bien, debería salir en septiembre. No puedo dar detalles todavía, pero voy a anunciar todo muy pronto.

Foto: Kristin Cofer

¿Tiene planes de visitar México en esta gira?

He estado hablando con mi agente de América del Norte para ver cómo tocar en México. ¡Me encantaría! Pero, por desgracia, no he tenido muchas invitaciones.

¡Nos encantaría verte por acá! Volviendo un poco al último álbum, ¿cómo es llegar al fondo del  abismo para después volver?

Yo espero verlos por allá.

Cada vez que escribo un nuevo álbum es un proceso profundo. No siempre es fácil. De hecho, es cada vez más emocional y difícil a medida que me hago mayor y entiendo más mi propio proceso.

Ahora estoy más presente mientras cavo profundamente en mí misma y hago frente a la oscuridad y a las realidades del mundo.

Sólo trato de ser siempre honesta y escribir sobre cosas honestas. También trato de traer alguna esperanza a las canciones para que no no sean demasiado terribles. Pero la realidad es que a veces las cosas son muy difíciles para muchas personas y quiero respetar eso. Rendirle homenaje.

Foto: Ben Chisholm

Chelsea Wolfe es una muestra de cómo el lado más obscuro siempre puede convivir con la luz, que en esta ocasión es generada por su voz que, como un canto de sirena,  siempre tocará la fibra las fibras más sensibles e hipnotizará a quien la escuche.

Via Rock Storias

Chelsea Wolfe adds new European shows

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Chelsea Wolfe has announced new European shows around her performances at Roadburn, Hellfest, Dudefest, Smoke the Fuzz Festival, and Sideways Festival. 

Tickets available HERE. A full list of dates, venues and support can be found below.

CHELSEA WOLFE - EUROPE SPRING 2017

Apr 15 Dublin, IE @ Whelans w/ WIFE
Apr 16 Glasgow, UK @ Saint Luke’s *
Apr 17 Manchester, UK @ Gorilla *
Apr 18 London, UK @ Heaven *
Apr 19 Brighton, UK @ The Haunt *
Apr 21 Tilburg, NL @ Roadburn Festival
Apr 23 Karlsruhe, DE @ Dudefest
Apr 24 Zurich, CH @ Bogen F #
Apr 26 Prague, CZ @  Futurum Music Club #
Apr 27 Berlin, DE @ Berghain #
Apr 29 Athens, GR @ Smoke The Fuzz Fest

Jun 08 Stockholm, SE @ Kraken Stockholm
Jun 10 Helsinki, FI @ Sideways Festival
Jun 12 Oslo, NO @ Blä
Jun 13 Oslo, NO @ Vigelands Mausoleum - SOLD OUT
Jun 14 Malmö, SE @ Babel
Jun 18 Clisson, FR @ Hellfest
Jun 19 Antwerp, BE @ Trix w/ Moon Duo

* w/ True Widow, King Woman
# w/ Wear Your Wounds

Chelsea Wolfe interview ahead of GIRLSCHOOL performance // Lenny

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photo by Kristin Cofer // words by Dianca Potts

Last January, GIRLSCHOOL, an LA-based collective dedicated to supporting women in music, celebrated its inaugural music festival at Bootleg Theater. Featuring acts like Gothic Tropic and Maria Taylor, GIRLSCHOOL’s first festival confirmed that powerful things can happen when women collaborate for the greater good. This year, founder Anna Bulbrook and co-founder Jasmine Lywen-Dill hope to conjure a similar spirit of solidarity and community. “It’s my ultimate dream to have a nexus of incredible women thinkers and doers around us,” Anna says. This year’s lineup is not only intersectional but also sonically diverse. “In today’s political climate, it especially matters to have these outlets that unify and celebrate women,” Jasmine says. “I hope [we] can be a vehicle for change and for raising awareness of girl-positive organizations in the arts.” Set to kick off this Friday, GIRLSCHOOL’s weekend extravaganza is exactly what we need right now. I was lucky enough to catch up with the festival’s headliner, the forever busy and immensely talented Chelsea Wolfe. Best known for haunting dirges like “Dragged Out” and hypnotic ballads like “Mer” and “Feral Love,” Chelsea’s fusion of folklore, Jungian theory, and gothic motifs is as beautiful as it is brooding. A week before the festival, I chatted with Chelsea — who’s currently working on a new album — about the importance of taking credit for your work and why darkness isn’t always a bad thing.

Dianca Potts: What did music mean to you when you were growing up?

Chelsea Wolfe: When I was a kid, my parents divorced, and my mom was always a creative person herself, making clothes, drawing, and painting, and she’d listen to great music like Joni Mitchell, Bonnie Raitt. On the weekends I’d go to my dad’s house, where he had a home studio for recording and practicing with the country band he had with my stepmom. Hearing them harmonize and work on Fleetwood Mac covers was my first inspiration to write my own songs.

I really connected with Lindsey Buckingham’s voice. I think I took some vocal styling from him back then that I still use today. Over the years, I’ve been drawn to singers and bands with androgynous voices — Nina Simone, Placebo, and bands who go to extremes musically, like Sunn O))) and Swans. I find some comfort in things that aren’t easy to define, maybe because I always felt like I was an in-between myself.

DP: In a feature for Under the Radar, you mentioned that in the past you haven’t given yourself enough credit for the work that you do. I feel like this is something that a lot of creatives, especially women, struggle with. What advice would you give to younger creatives who feel hesitant to celebrate their accomplishments in fear of coming off as prideful?

CW: I’m glad you’re bringing that feature up. I spent a lot of time doing a full interview about “sexism and misogyny in the music industry” and they only used that one line from it, of course. I do think there’s kind of an unspoken societal thing where we’re not supposed to talk about our accomplishments very much. I always felt like my work spoke for itself, and I wanted people to be able to relate to it in their own way, without everything being over-explained. But as I slowly gained more of an audience, someone’s gonna be offended by what you’re doing, and there was a person who tried to start a campaign against me, making false claims of what I was inspired by or what my music and videos meant. I didn’t fight back publicly because, well, I’d rather spend my time on music than Internet drama, but all my friends in real life and in the music industry who knew about this reached out to me with messages of love and support and reminders that they know I’ve always followed my own path and been true to myself. That was really heartening when I was bummed about being attacked like that. I learned that I need to take credit for my work more publicly, and be a little more outgoing with what I share about myself and my music.

My advice to younger female and nonbinary artists is this: take credit for your work, always and rigorously, otherwise some jerk might come along and try to take the credit for you, or they’ll say that a man wrote your songs for you. Fuck that. I think Grimes is a great example of someone who makes sure it’s known that her work, ideas, and production are her own. Follow her lead.

DP: Your music is often described as dark. What do you feel is the value of exploring the dark side of emotion and human experience?

CW: From a young age, I wanted to know both sides to every story. I used to have these recurring nightmares of macro and micro. I would be in a white room with an object in the middle, like a book or a telephone, and the object would grow really, really large and fill the room, smashing me against the wall, and then the object would grow small again, back and forth. It was maddening, but I think it kind of represents how I approach writing songs. I’m hyperaware of the macro, the world as a whole, and all the fucked-up things that are happening at the same time: bombings, rapes, suicides. That is all really dark stuff to write about, but it’s not like I’m making it up. At the same time, I’m also able to focus in on my own life or community and write a song that comes from there. It’s all a contrast of the hideousness of life and the beauty of life. My first album, The Grime and the Glow, was kind of the beginning of this exploration in contrasts.

DP: How did you get involved with GIRLSCHOOL?

CW: Through the Echo Society, which is a group of composers who put together this great night of original music with an orchestra and guest collaborators each year. They reached out to me to compose a piece, which I did with the help of my bandmate Ben Chisholm, since he’s a master of arranging string samples and percussive elements. Anna Bulbrook was running the Echo Society show in LA. On day one of the rehearsals, I was in the wrong place at the right time, and Anna was so kind as to relocate me to the place I was supposed to be.

On the drive there, we got to know each other a bit, and she told me about GIRLSCHOOL. I had heard of it before and was blown away to be talking with the person who started it. My drummer Jess Gowrie and I had just been talking about how inspiring it is to see women musicians onstage when you’re a young, aspiring female musician, and we were hoping that we could help do the same for the younger generation. So when Anna said there was a festival involved, I was like, “If you’d ever want my band to play, I’d be honored.”

DP: What makes organizations like GIRLSCHOOL so vital?

CW: They normalize the idea of an instrument in a young woman’s hands, or a woman being the leader of a band. And of course they encourage young people to explore music and the arts and gain confidence and self-acceptance through that. I know I grew up feeling the pressure to be society’s typical, subdued definition of “feminine,” even though I never felt that way inside, and my body type has never represented that either. It was difficult for me to assert myself as an artist when I was starting out. I’m here representing for the late bloomers. Nowadays I think a lot of younger folks are moving past all those antiquated gender restraints much quicker than I did, which is great to see.

(via Lenny)

Chelsea Wolfe’s Top 5 Movie Soundtracks // Red Bull Music

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“Sometimes it’s almost undetectable, like when you don’t even think about what a good match the music is to the film until much later, or you can’t get it out of your head after watching,” says musician Chelsea Wolfe about what makes a good movie score or soundtrack.

“I like when a film score trickles into the atmosphere of the scene,” she continues, “blending in with the droning sounds or pops and clicks of the space, and it takes a minute to realize that it’s even there. But then I also love when the music set to a scene is intentionally overwhelming or intense.”

Wolfe, whose fifth studio album “Abyss” was one of 2015’s best heavy albums, focused on her favorite movie scores for a recent episode of her monthly RBMA Radio show, “Hypnos Hour,” which airs every third Monday of the month at 6 p.m. EST. So we wanted to talk to her more about how film music has inspired her own creative vision and unique sound.

“I approach music cinematically, but without overthinking it,” Wolfe says. “Often when I’m writing a song I’ll close my eyes and just play guitar and sing, and I’m transported. There are shapes and images behind my eyes, and when I open them again I’m surprised to find the daylight still there, like coming out of a dark theater in the middle of the day.”

We also asked Wolfe to tell us about her favorite movie scores, which include work by Radiohead’s Jonny Greenwood and Coachella 2017 performer Hans Zimmer. Check out her picks below and be sure to listen to Wolfe’s RBMA Radio show each month for a deeper look into the music she loves. 

1. “Romeo & Juliet” (Soundtrack: Various artists)

“I’m starting off with this one because it was also the soundtrack to my teenage years. The movie came out like a week before my 13th birthday and I had my birthday party at the theater to see it. I adored the movie and listened to the soundtrack nonstop for a long time — so many good songs on there! My favorites were Radiohead’s ‘Talk Show Host’ and Garbage’s ’#1 Crush.’”

2. “There Will Be Blood” (Score: Jonny Greenwood)

“You can really feel Jonny Greenwood through this soundtrack. It couldn’t be more perfect for this movie. There’s nothing I can really say other than: If you haven’t seen it yet, watch it.”

3. “Cave of Forgotten Dreams” (Score: Ernst Reijseger)

“I’m such a huge fan of Werner Herzog films and also the soundtracks. 'Encounters at the End of the World’ is another great one. Sometimes he’ll just hang on a scene and allow you to explore something visually while this perfect piece of music plays. And his voice itself is so comforting and pleasing to the ears that it becomes part of the soundtrack.”

4. “Interstellar” (Score: Hans Zimmer)

“The score Hans Zimmer created for 'Interstellar’ really made the movie. It’s so emotional and at times uncomfortable, and it pulls the story forward. I read that this project began in a very instinctual way, as the director only gave him one page of the script and asked him to write something based on that to begin with. It ended up being something really personal, which set the tone for this whole big science fiction movie. I love that kind of collaboration and trust. Also, much of it was recorded on a massive organ at a church in London, which is so cool.”

5. “The American Astronaut” (Soundtrack: The Billy Nayer Show)

“There’s a great scene in the bar bathroom when a friend of the main character sends two guys to sing a song and mess with him while he’s in the stall wondering what the hell is going on. That whole movie is pretty glorious and weird. The soundtrack is such a visceral part of it all.”

(via Red Bull Music)

Chelsea Wolfe announces April EU dates

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Chelsea Wolfe has announced European shows and festival appearances in April. Support from True Widow or Jacob Bannon’s (Converge) new band, Wear Your Wounds in select cities. A full list of dates below.

Tickets available HERE.

CHELSEA WOLFE EU APRIL 2017

Apr 15 - Whelans - Dublin, IE
Apr 16 - Saint Luke’s - Glasgow, UK △
Apr 17 - Gorilla - Manchester, UK △
Apr 18 - Heaven - London, UK △
Apr 19 - The Haunt - Brighton, UK △
Apr 21 - Roadburn Festival - Tilburg , NL
Apr 23 - Dudefest - Karlsruhe, DE
Apr 24 - Bogen F - Zurich, CH ▼
Apr 26 - Futurum - Prague, CZ ▼
Apr 27 - Berghain - Berlin, DE ▼
Apr 29 - Smoke The Fuzz Fest @ Piraeus 117 Academy - Athens, GR

△ with True Widow
▼ with Wear Your Wounds