Album Review: Chelsea Wolfe's Unknown Rooms

We all have those albums that completely fly under our radars. Last year, that was Chelsea Wolfe's Ἀποκάλυψις (pronounced Apokalypsis). I don't at all remember how I came about finding her, but I do remember the chilling sense I got from listening to the single "Mer"; dark but ultimately beautiful in every way. Released under Sargent House -- home to bands like Russian Circles and Daughters -- I had no clue what I was in for. I tagged her as some singer/songwriter that somehow must have snuck her way onto a metal label. But I was blown away with what I got. That amazement continued when I actually saw her open for Russian Circles at the Middle East in Boston this past summer. I was floored. To this day, I still consider her one of the top 5 acts I have ever seen live.

Now, as 2012 comes to an end, Chelsea Wolfe has released Unknown Rooms: A Collection of Acoustic Songs, a record that has been on my must listen list for months since its announcement. One thing that makes Chelsea so appealing is her pairing of vocal style with her unique style of music: some have called it "acoustic doom metal," which i think is very funny every time I see it. For me, Chelsea Wolfe is a blend of drone-metal and folk. In other words, think of Sunn o))) but with an actual melody, an acoustic guitar, and a pretty girl singing. None of this sounds bad, right?

Unknown Rooms is an excellent album, one that lived up to my expectations. The main reason being her ability to transition her plugged-in performance to a stripped-down acoustic guitar and strings arrangement. With Apokalypsis, many of her songs are lined with reverb and vocal effects that actually work in her favor (unlike some singers *COUGH* BEACH HOUSE *COUGH*). Instead of flattened vocals, Chelsea Wolfe treats her listener to something that has depth. It's haunting and dark, but again, one of the most beautiful female voices I've ever heard. This is what I believe sailors heard before crashing into a mess of rocks, leading to their ultimate death.

The album opens with "Flat Lands", the first single off the LP. It's simple, yet very effective, starting with just an acoustic guitar, then slowly building to more strings. You're soon treated to "Appalachia", a song closely resembling something you could hear on a Damien Rice release. Overall though, this release feels a bit short, running less than twenty-five minutes. One other thing that bothered me was Wolfe's choice to leave two extra tracks off, and leave them as bonus downloads. Both "Virginia Woolf Underwater" and "Gold" serve as the best tracks on the album, even though they don't really exists unless you buy them from iTunes. If you can, I highly recommend spending the $1.98 on both tracks- totally worth it.

Chelsea Wolfe has been described as gothic, as well as servery melancholy. As depressing as this may seem, from the darkness comes something beautiful; something where the term short but sweet actually exemplifies itself. And as annoying as it is that she left two of the best tracks off the album, the small amount it takes to listen to them is worth the asking price.

Final Grade: A-

For fans of: Sun o))), Russian Circles, Damien Rice -- It's difficult to describe, but hopefully this helps

Album Review: The Mountain Goats' Transcendental Youth

I guess The Mountain Goats weren't content with releasing just an album just last year; they had enough material for two, this year's Transcendental Youth. The latest effort sees John Darnielle and the gang a little more comfortable with their characters, not to mention the happier sound of the tunes -- well, I guess happy for The Mountain Goats. There are obviously moments of losing your cool - "Lakeside View Apartment Suite" feels almost like a Jack's Mannequin song, up until the protagonist pukes in the sink. But what Transcendental Youth does for the Mountain Goats' discography is add another dimension to its already padded reputation -- I don't see anyone trying to rip off their sound, but I can definitely see Darnielle's songwriting being cited influential in many years to come.

"Amy aka Spent Gladiator 1" kicks off the record, an ode to Amy Winehouse and any other youthful sprites living for the moment. "Just stay alive" is the chorus, endearingly honest and true. It's a shame Winehouse could never collaborate with The Mountain Goats, as I think that would produce a successful, if not completely strange, result; I understand that would be almost as random as the tribute itself, but apparently Darnielle had a message for the late songstress strong enough to produce a song. Transcendental Youth continues to build on the success of the opening track, ending with the beautiful eponymous closing track.

The Mountain Goats expand more on the full band they have established in recent releases by adding a horn section to most of the songs. "Cry for Judas" sounds a bit like a Beirut song with the horn section taking charge throughout most of the track. And although the tracks here are have a lot more pep than what was featured on All Eternals Deck, the lyrics still point toward the helplessness you can expect from the band.

What can be extrapolated from Transcendental Youth is The Mountain Goats extend their winning streak long enough to be inspired by contemporary artists, while still maintaining their structure and sound. There's no "See America Right" or "This Year" on the record, but once all the melodies and lyrics sink in, you won't feel like you wasted your time listening. I would be happy with releases like All Eternals Deck and Transcendental Youth every year, if they are as stable as The Mountain Goats' releases continue to be. I don't see this record as a reinvention or anything that will blow people away, though it's a solid exercise for a band that is ever-shifting laterally, comfortable and confidant with what they create.

Final Grade: B