THE NEW YORK TIMES highlights Chelsea Wolfe’s CMJ show at Europa in their Pop and Rock listings for the week of Oct. 14th, claiming “Los Angeles is scrutinized with fresh malaise by Ms. Wolfe, whose volatile yelps skip along shuddering, foreboding folk-metal in “Apokalypsis” (Pendu). The dark, aching glamour suits her…” (read more here…).
They also mention Chelsea in their CMJ recap article, along with a stunning photograph in their CMJ slideshow (above).
URB mentions Chelsea Wolfe as a top pick to see at CMJ, and then features her in their CMJ 2011: The Hits & Misses; “Highlighted as one of our acts to watch during CMJ, Chelsea Wolfe didn’t disappoint. In fact, the URB crew saw her twice here and got two intriguingly different performances. The first performance was at Cakeshop, where she played a relatively early set, providing a subdued sense of impending apocalyptica through ice-cold blue eyes. The eye contact that Wolfe made with the audience was as alluring as it was chilling; similar to her music in more ways than one. The tracks she played seem personable, but their roots are beyond the realm of the light. The next time URB saw Wolfe was at a warehouse event in Williamsburg, where the sound and venue were “suspect” to say the least. Whilst the band proclaimed it would be a sloppy final gig, it provided an extra oomph to Wolfe, as she seemed more comfortable and enigmatic than her previous show at Cakeshop. This time along with the eye contact came near fever-pitch vocal terror and somberness, mirroring her LP’s atmosphere effectively. While the crowd seemed dampened by it all, it has to be understood that Chelsea Wolfe’s sounds are not rock-show material. When you check her out, be sure to come with all your affairs in order; you’ll be doing a lot of thinking and listening.”
MTV HIVE features Chelsea Wolfe in their photo gallery recap of CMJ Thursday night. See more here.
THE VILLAGE VOICE on Chelsea Wolfe’s final CMJ performance at 285 Kent; “We made our last stop 285 Kent, where Impose had collaborated with Pendu Sound on a rather Goth (but thankfully not witch house) lineup. Chelsea Wolfe, backed by three black-clad gentlemen, entranced the room with her dark and lovely “doom-folk.” Although some parts were more evocative than others, the music transmitted a pervasive sense of longing, and Wolfe was riveting as she swayed back and forth as if performing some sacred rite, pausing only once to introduce herself in a barely audible quaver. Stark, booming drums, ringing minor chords, minimal synths and Wolfe’s mournful soprano all built to a terrifying crescendo on the final song, during which the keyboard player pounded on his instrument like Nick Cave at his angriest. For at least a few sore and cranky onlookers, it was a moment approaching transcendence.” Read it here.