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Be All Things
Folk · 2019

Be All Things

Chelsea Wolfe

A haunting return to acoustic roots where breathy vocals and somber cello create a sanctuary for the weary soul. Dark folk at its most intimate.

August 14, 2019 · Sargent House

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Be All Things represents a significant pivot in Chelsea Wolfe's sonic trajectory, moving away from the crushing industrial doom of her previous work into a space of profound, hushed intimacy. It sounds like a secret whispered in a cathedral made of cedar and pine. The primary driver is a steel-string acoustic guitar, played with a deliberate, unhurried pace that allows every harmonic and fret-buzz to resonate. This is not the bright, sunny folk of the 1960s; it is an American Gothic interpretation that feels rooted in the soil and the shadows of the Pacific Northwest.

Moments Worth Listening For
The moment the cello enters, grounding the airy guitar with a mournful, low-frequency hum.
The subtle layering of vocals in the chorus that creates a ghostly, choral effect without losing intimacy.
The final, lingering decay of the acoustic guitar string that feels like a door gently closing.
Where This Album DepartsEach spoke is a trait. The orange shape shows where this album pulls away from — or holds to — the rest of the artist’s catalogue. Tap for more.

How does Be All Things sound next to the rest of Chelsea Wolfe's catalogue?

Dusk+2.5σ

Dusk saturates this record far more than the artist's norm.

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