- 01The Grime and the GlowChelsea Wolfe’s progression from the quiet gloom of 2010’s The Grime and the Glow to the stormy, folk-doom atmospheres of 2017’s Hiss Spun suggests the exact opposite—that she sacrifices herself for her art.from the chapter
- 02Hiss SpunChelsea Wolfe’s progression from the quiet gloom of 2010’s The Grime and the Glow to the stormy, folk-doom atmospheres of 2017’s Hiss Spun suggests the exact opposite—that she sacrifices herself for her art.from the chapter
- 03Mistake in PartingShe sang for a few bands before deciding to venture out on her own for Mistake in Parting in 2006, an effort she doesn’t look back too warmly upon.from the chapter
- 04“Halfsleeper”Along with “Fang,” the ninth cut, “Halfsleeper,” highlights Wolfe’s uncanny ability to make utterly haunting music with nothing but her voice and an acoustic guitar.from the chapter
- 05ApokalypsisApokalypsis came out in 2011 and conjures gloom in similar fashion, but with more reverb and moments of frantic tension, which comes across most in “Primal / Carnal” and “Demons.”from the chapter
- 06Pain is BeautyThat dark spirit glides through 2013’s Pain is Beauty as well, Wolfe summoning it via ghostly electronica.from the chapter
- 07“Reins”Songs like “Reins” and “The Waves Have Come,” however, shine a light on the subterranean canyons Wolfe would map out on 2015’s Abyss.from the chapter
- 08“The Waves Have Come”Songs like “Reins” and “The Waves Have Come,” however, shine a light on the subterranean canyons Wolfe would map out on 2015’s Abyss.from the chapter
- 09AbyssSongs like “Reins” and “The Waves Have Come,” however, shine a light on the subterranean canyons Wolfe would map out on 2015’s Abyss.from the chapter
- 10“The Culling”A quiet Dylan Carlson-style guitar drone guides the song through the ocean before “The Culling” surfaces for air—but only to dive back into unsolvable familial strife.from the chapter
- 11“Two Spirit”“Twin Fawn” and “Two Spirit” dwell in nocturnal solitude, creating a context in which the distorted “Scrape” can deliver its promise to the brain.from the chapter
- 12“Twin Fawn”“Twin Fawn” and “Two Spirit” dwell in nocturnal solitude, creating a context in which the distorted “Scrape” can deliver its promise to the brain.from the chapter
- 13“Scrape”“Twin Fawn” and “Two Spirit” dwell in nocturnal solitude, creating a context in which the distorted “Scrape” can deliver its promise to the brain.from the chapter
- 14Feral VerdureOn the trio’s first LP, 2014’s Feral Verdure, austere folk couples with vacant drone to paint an abstract whole.from the chapter
- 15Au De LaThe trio’s subsequent albums, Au De La, Ardor, and A Gaze Among Them, are spiritually wrenching.from the chapter
- 16ArdorThe trio’s subsequent albums, Au De La, Ardor, and A Gaze Among Them, are spiritually wrenching.from the chapter
- 17A Gaze Among ThemThe trio’s subsequent albums, Au De La, Ardor, and A Gaze Among Them, are spiritually wrenching.from the chapter
- 18“(re)Collection Part II”Au De La closes with “(re)Collection Part II.” In it, Wattie and Ball summon cascading drones, above which cellos swirl like angry clouds.from the chapter
- 19“Holding Pattern”Led by Campbell’s driving kick-tom percussion, “Holding Pattern” draws deep from the ocean before cascading in a massive and majestic wave, sounding like a collaboration between Pelican and My Bloody Valentine.from the chapter
- 20“Body Individual”The third song, “Body Individual,” deals in corrugated abstraction, unspooling in caterwauling noise and idiosyncratic drumming.from the chapter
- 21“This Deafening Verity”One of Big Brave’s shortest tracks, “This Deafening Verity” is a tunnel of cushioned feedback, through which Wattie’s voice echoes.from the chapter
- 22“Sibling”from A Gaze Among ThemA Gaze Among Them’s closer, “Sibling,” is wild and mechanical, controlled and unruly as it emanates from a leaden core only to be repeatedly drawn back down, like a kite.from the chapter