Chords for Chelsea Wolfe- Unknown Rooms: A Collection of Acoustic Songs ALBUM REVIEW
Tempo:
97.3 bpm
Chords used:
C
E
G
Dm
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [C] [E]
Hi everyone, Anthony Fantano here, the internet's busiest music nerd, and it's time for a review
Chelsea Wolfe, Unknown Rooms, a collection of acoustic [C] songs.
[Dm] [Em] [C] [Dm]
Chelsea Wolfe [N] is a darkened songstress who I first heard last [G] year through her [E] album Apocalypse.
And on this record, Chelsea pulled together a pretty diverse set of musical stylings,
everything from neo-folk to ethereal wave to moments that to me flirted with the idea
of [N] doom metal.
She's clearly influenced by a lot of different things and ambitious enough to chase after
every single one of them when putting together an album.
And despite the fact that stylistically this LP is kind of all over the place, what is
the common thread throughout all these tracks is just this overbearing sense of darkness
and Chelsea Wolfe's beautiful yet haunting voice.
However, Chelsea is going for something a little bit different on this new LP of hers,
something that is explicitly stated in the title, a set of acoustic songs.
And I'm kind of weary about this label, weary about labels such as these in general, because
it kind of makes me think, okay, like the artist is going on this trip to acoustic town
but they're not staying, like they're just visiting or there's something kind of unnatural
about their staying in this place, which is why they had to label it specifically as a
set of acoustic songs, like, oh, spoiler.
And whether or not Chelsea actually returns to doing acoustic albums in the future, there
is kind of a lack of devotion that is very obvious on some of these tracks.
This thing overall is a pretty short collection of songs, and a good handful of the songs
on here, despite the fact that they may bring up some great sounds or some great melodies,
do feel a bit unfinished, may end kind of abruptly, like the track The Way We Used To,
which has this very repetitive vocal line that starts right at the beginning of the
track, eventually gets layered with multi-tracked vocal lines on top of that as it progresses.
But as far as the verses and the chorus of that track go, it doesn't really stand out
or feel all that developed, I guess.
It's memorable, not really anything else that happens from beginning to end.
The track Appalachia ends kind of suddenly, just with no warning whatsoever, and I kind
of feel like the song could have gone on a bit longer.
And while the track Boyfriend is one of the longer tracks on here and one of my favorites,
it kind of hits a brick wall too as soon as it reaches its ending.
And the track Our Work Was Good doesn't even really get started.
It's just kind of an idea and then it fizzles out.
However, that is kind of the extent of my negative views on this collection of tracks,
because I do love a great deal of what is going on here.
And there's no reason it can't be enjoyed by fans or just people who are willing to
kind of take it for what it is, or are looking for a female singer-songwriter with kind of
a dark edge and an acoustic aesthetic.
For me, maybe the biggest highlight on this entire LP is the opening track, Flatlands,
which is the longest song on here and maybe the most developed.
There's an acoustic guitar on this track that has a bit of a twang to it, some soft, soft
vocals, delicate string sections that interject beautifully on the choruses, and maybe, maybe,
maybe some very subtle and just mixed low synthesizers on the track too.
Not to mention a very, very steady and subtle drumbeat, kind of keeping things up from behind.
And I love the vocal melody on this chorus.
I mean, it's as pretty as it is dreary.
And the lyrics of the song are [E] pretty awesome as well.
Chelsea kind of [N] stating her preference for flatlands, simplicity, just barren-ness.
And the twang of the track, you know, kind of reminds me of a desert setting for sure.
And it's funny because Chelsea describes this place of nothingness where she wants to be,
but she asks the listener or someone she has in mind to come along with her.
And the track's spinning centers, I love how Chelsea changes up her vocal delivery a little
bit on that track.
It's whisper quiet, eerie quiet, and the vocal melody on there to me feels like inspired
by a piece of very [E] archaic folk music.
I mean, like something centuries old in a sense.
And the strings on this track, they're all over the place just like on the opener, but
they're not playing some heavily arranged piece or just kind of like laying along with
the chords of the track.
They're kind of like adding these high-pitched whines just [N] very subtly, very quietly throughout
the song, adding some weird and kind of unsettling textures.
And the track Boyfriend is easily the slowest track on this LP, and it's got this acoustic
guitar phrase that is just sharp and dark.
It's weird because I think of this guitar phrase and I think of how heavy it would sound
if it were played on like a distorted guitar through an amplifier.
And while I am thinking of that, what catches my attention is just how spectral Chelsea's voice is.
And toward the end of the track, a synthesizer introduces itself into the mix, but it is
mixed loud into the track, and it's just really heavy, low-end, bassy.
And the melody that it's playing, [E] it's something that feels so gothic.
And I don't mean like industrial gothic, I mean like candelabras, crows, cobwebs, architecture.
It's just really chilling, just very icy.
And the track Hyper Oz, toward the end of this LP, is an auto-harp [N] ballad that features
another standout melody, maybe one of the more memorable ones from this entire LP, despite
being such a short track.
Overall, I thought this was a very good collection of songs.
I just thought it could have used a bit more development.
I mean, that's all.
You know, a few of the tracks on here really could have been longer, could have used just
more sections, more parts.
And I just would have loved to have heard more acoustic songs from Chelsea, because
the songs on here that work, work [D] really well.
And you know, while in a way the title [Ab] here does imply that we may not get another acoustic
album soon, I will most definitely be looking forward to any acoustic songs that do happen
to make it onto any album that Chelsea puts out in the future.
Alright, feeling at a light to decent 7 [N] on this Unknown Rooms collection of acoustic songs.
What did you think of it if you've given it a listen?
Did you love it?
Hate it?
Why?
And what should I review next?
Anthony Fantano, [A] Chelsea [C] Wolfe.
Forever.
[Am] [F] [G]
Hi everyone, Anthony Fantano here, the internet's busiest music nerd, and it's time for a review
Chelsea Wolfe, Unknown Rooms, a collection of acoustic [C] songs.
[Dm] [Em] [C] [Dm]
Chelsea Wolfe [N] is a darkened songstress who I first heard last [G] year through her [E] album Apocalypse.
And on this record, Chelsea pulled together a pretty diverse set of musical stylings,
everything from neo-folk to ethereal wave to moments that to me flirted with the idea
of [N] doom metal.
She's clearly influenced by a lot of different things and ambitious enough to chase after
every single one of them when putting together an album.
And despite the fact that stylistically this LP is kind of all over the place, what is
the common thread throughout all these tracks is just this overbearing sense of darkness
and Chelsea Wolfe's beautiful yet haunting voice.
However, Chelsea is going for something a little bit different on this new LP of hers,
something that is explicitly stated in the title, a set of acoustic songs.
And I'm kind of weary about this label, weary about labels such as these in general, because
it kind of makes me think, okay, like the artist is going on this trip to acoustic town
but they're not staying, like they're just visiting or there's something kind of unnatural
about their staying in this place, which is why they had to label it specifically as a
set of acoustic songs, like, oh, spoiler.
And whether or not Chelsea actually returns to doing acoustic albums in the future, there
is kind of a lack of devotion that is very obvious on some of these tracks.
This thing overall is a pretty short collection of songs, and a good handful of the songs
on here, despite the fact that they may bring up some great sounds or some great melodies,
do feel a bit unfinished, may end kind of abruptly, like the track The Way We Used To,
which has this very repetitive vocal line that starts right at the beginning of the
track, eventually gets layered with multi-tracked vocal lines on top of that as it progresses.
But as far as the verses and the chorus of that track go, it doesn't really stand out
or feel all that developed, I guess.
It's memorable, not really anything else that happens from beginning to end.
The track Appalachia ends kind of suddenly, just with no warning whatsoever, and I kind
of feel like the song could have gone on a bit longer.
And while the track Boyfriend is one of the longer tracks on here and one of my favorites,
it kind of hits a brick wall too as soon as it reaches its ending.
And the track Our Work Was Good doesn't even really get started.
It's just kind of an idea and then it fizzles out.
However, that is kind of the extent of my negative views on this collection of tracks,
because I do love a great deal of what is going on here.
And there's no reason it can't be enjoyed by fans or just people who are willing to
kind of take it for what it is, or are looking for a female singer-songwriter with kind of
a dark edge and an acoustic aesthetic.
For me, maybe the biggest highlight on this entire LP is the opening track, Flatlands,
which is the longest song on here and maybe the most developed.
There's an acoustic guitar on this track that has a bit of a twang to it, some soft, soft
vocals, delicate string sections that interject beautifully on the choruses, and maybe, maybe,
maybe some very subtle and just mixed low synthesizers on the track too.
Not to mention a very, very steady and subtle drumbeat, kind of keeping things up from behind.
And I love the vocal melody on this chorus.
I mean, it's as pretty as it is dreary.
And the lyrics of the song are [E] pretty awesome as well.
Chelsea kind of [N] stating her preference for flatlands, simplicity, just barren-ness.
And the twang of the track, you know, kind of reminds me of a desert setting for sure.
And it's funny because Chelsea describes this place of nothingness where she wants to be,
but she asks the listener or someone she has in mind to come along with her.
And the track's spinning centers, I love how Chelsea changes up her vocal delivery a little
bit on that track.
It's whisper quiet, eerie quiet, and the vocal melody on there to me feels like inspired
by a piece of very [E] archaic folk music.
I mean, like something centuries old in a sense.
And the strings on this track, they're all over the place just like on the opener, but
they're not playing some heavily arranged piece or just kind of like laying along with
the chords of the track.
They're kind of like adding these high-pitched whines just [N] very subtly, very quietly throughout
the song, adding some weird and kind of unsettling textures.
And the track Boyfriend is easily the slowest track on this LP, and it's got this acoustic
guitar phrase that is just sharp and dark.
It's weird because I think of this guitar phrase and I think of how heavy it would sound
if it were played on like a distorted guitar through an amplifier.
And while I am thinking of that, what catches my attention is just how spectral Chelsea's voice is.
And toward the end of the track, a synthesizer introduces itself into the mix, but it is
mixed loud into the track, and it's just really heavy, low-end, bassy.
And the melody that it's playing, [E] it's something that feels so gothic.
And I don't mean like industrial gothic, I mean like candelabras, crows, cobwebs, architecture.
It's just really chilling, just very icy.
And the track Hyper Oz, toward the end of this LP, is an auto-harp [N] ballad that features
another standout melody, maybe one of the more memorable ones from this entire LP, despite
being such a short track.
Overall, I thought this was a very good collection of songs.
I just thought it could have used a bit more development.
I mean, that's all.
You know, a few of the tracks on here really could have been longer, could have used just
more sections, more parts.
And I just would have loved to have heard more acoustic songs from Chelsea, because
the songs on here that work, work [D] really well.
And you know, while in a way the title [Ab] here does imply that we may not get another acoustic
album soon, I will most definitely be looking forward to any acoustic songs that do happen
to make it onto any album that Chelsea puts out in the future.
Alright, feeling at a light to decent 7 [N] on this Unknown Rooms collection of acoustic songs.
What did you think of it if you've given it a listen?
Did you love it?
Hate it?
Why?
And what should I review next?
Anthony Fantano, [A] Chelsea [C] Wolfe.
Forever.
[Am] [F] [G]
Key:
C
E
G
Dm
Em
C
E
G
[G] _ _ _ [C] _ _ _ _ [E] _
_ _ Hi everyone, Anthony Fantano here, the internet's busiest music nerd, and it's time for a review
Chelsea Wolfe, Unknown Rooms, a collection of acoustic [C] songs. _
[Dm] _ _ [Em] _ [C] _ [Dm] _ _ _ _
_ Chelsea Wolfe [N] is a darkened songstress who I first heard last [G] year through her [E] album Apocalypse.
And on this record, Chelsea pulled together a pretty diverse set of musical stylings,
everything from neo-folk to ethereal wave to moments that to me flirted with the idea
of [N] doom metal.
She's clearly influenced by a lot of different things and ambitious enough to chase after
every single one of them when putting together an album.
And despite the fact that stylistically this LP is kind of all over the place, what is
the common thread throughout all these tracks is just this overbearing sense of darkness
and Chelsea Wolfe's beautiful yet haunting voice.
However, Chelsea is going for something a little bit different on this new LP of hers,
something that is explicitly stated in the title, a set of acoustic songs.
And I'm kind of weary about this label, weary about labels such as these in general, because
it kind of makes me think, okay, like the artist is going on this trip to acoustic town
but they're not staying, like they're just visiting or there's something kind of unnatural
about their staying in this place, which is why they had to label it specifically as a
set of acoustic songs, like, oh, spoiler.
And whether or not Chelsea actually returns to doing acoustic albums in the future, there
is kind of a lack of devotion that is very obvious on some of these tracks.
This thing overall is a pretty short collection of songs, and a good handful of the songs
on here, despite the fact that they may bring up some great sounds or some great melodies,
do feel a bit unfinished, may end kind of abruptly, like the track The Way We Used To,
which has this very repetitive vocal line that starts right at the beginning of the
track, eventually gets layered with multi-tracked vocal lines on top of that as it progresses.
But as far as the verses and the chorus of that track go, it doesn't really stand out
or feel all that developed, I guess.
It's memorable, not really anything else that happens from beginning to end.
The track Appalachia ends kind of suddenly, just with no warning whatsoever, and I kind
of feel like the song could have gone on a bit longer.
And while the track Boyfriend is one of the longer tracks on here and one of my favorites,
it kind of hits a brick wall too as soon as it reaches its ending.
And the track Our Work Was Good doesn't even really get started.
It's just kind of an idea and then it fizzles out.
However, that is kind of the extent of my negative views on this collection of tracks,
because I do love a great deal of what is going on here.
And there's no reason it can't be enjoyed by fans or just people who are willing to
kind of take it for what it is, or are looking for a female singer-songwriter with kind of
a dark edge and an acoustic aesthetic.
For me, maybe the biggest highlight on this entire LP is the opening track, Flatlands,
which is the longest song on here and maybe the most developed.
There's an acoustic guitar on this track that has a bit of a twang to it, some soft, soft
vocals, delicate string sections that interject beautifully on the choruses, and maybe, maybe,
maybe some very subtle and just mixed low synthesizers on the track too.
Not to mention a very, very steady and subtle drumbeat, kind of keeping things up from behind.
And I love the vocal melody on this chorus.
I mean, it's as pretty as it is dreary.
And the lyrics of the song are [E] pretty awesome as well.
Chelsea kind of [N] stating her preference for flatlands, simplicity, just barren-ness.
_ And the twang of the track, you know, kind of reminds me of a desert setting for sure.
And it's funny because Chelsea describes this place of nothingness where she wants to be,
but she asks the listener or someone she has in mind to come along with her.
And the track's spinning centers, I love how Chelsea changes up her vocal delivery a little
bit on that track.
It's whisper quiet, eerie quiet, and the vocal melody on there to me feels like inspired
by a piece of very [E] archaic folk music.
I mean, like something centuries old in a sense.
And the strings on this track, they're all over the place just like on the opener, but
they're not playing some heavily arranged piece or just kind of like laying along with
the chords of the track.
They're kind of like adding these high-pitched whines just [N] very subtly, very quietly throughout
the song, adding some weird and kind of unsettling textures.
And the track Boyfriend is easily the slowest track on this LP, and it's got this acoustic
guitar phrase that is just sharp and dark.
It's weird because I think of this guitar phrase and I think of how heavy it would sound
if it were played on like a distorted guitar through an amplifier.
And while I am thinking of that, what catches my attention is just how spectral Chelsea's voice is.
And toward the end of the track, a synthesizer introduces itself into the mix, but it is
mixed loud into the track, and it's just really heavy, low-end, bassy.
And the melody that it's playing, [E] _ it's something that feels so gothic.
And I don't mean like industrial gothic, I mean like candelabras, crows, _ cobwebs, architecture.
It's just really chilling, just very icy.
And the track Hyper Oz, toward the end of this LP, is an auto-harp [N] ballad that features
another standout melody, maybe one of the more memorable ones from this entire LP, despite
being such a short track.
Overall, I thought this was a very good collection of songs.
I just thought it could have used a bit more development.
I mean, that's all.
You know, a few of the tracks on here really could have been longer, could have used just
more sections, more parts.
And I just would have loved to have heard more acoustic songs from Chelsea, because
the songs on here that work, work [D] really well.
And you know, while in a way the title [Ab] here does imply that we may not get another acoustic
album soon, I will most definitely be looking forward to any acoustic songs that do happen
to make it onto any album that Chelsea puts out in the future.
Alright, feeling at a light to decent 7 [N] on this Unknown Rooms collection of acoustic songs.
What did you think of it if you've given it a listen?
Did you love it?
Hate it?
Why?
And what should I review next?
_ Anthony Fantano, [A] Chelsea [C] Wolfe.
Forever.
_ [Am] _ _ _ _ [F] _ _ _ _ [G] _
_ _ Hi everyone, Anthony Fantano here, the internet's busiest music nerd, and it's time for a review
Chelsea Wolfe, Unknown Rooms, a collection of acoustic [C] songs. _
[Dm] _ _ [Em] _ [C] _ [Dm] _ _ _ _
_ Chelsea Wolfe [N] is a darkened songstress who I first heard last [G] year through her [E] album Apocalypse.
And on this record, Chelsea pulled together a pretty diverse set of musical stylings,
everything from neo-folk to ethereal wave to moments that to me flirted with the idea
of [N] doom metal.
She's clearly influenced by a lot of different things and ambitious enough to chase after
every single one of them when putting together an album.
And despite the fact that stylistically this LP is kind of all over the place, what is
the common thread throughout all these tracks is just this overbearing sense of darkness
and Chelsea Wolfe's beautiful yet haunting voice.
However, Chelsea is going for something a little bit different on this new LP of hers,
something that is explicitly stated in the title, a set of acoustic songs.
And I'm kind of weary about this label, weary about labels such as these in general, because
it kind of makes me think, okay, like the artist is going on this trip to acoustic town
but they're not staying, like they're just visiting or there's something kind of unnatural
about their staying in this place, which is why they had to label it specifically as a
set of acoustic songs, like, oh, spoiler.
And whether or not Chelsea actually returns to doing acoustic albums in the future, there
is kind of a lack of devotion that is very obvious on some of these tracks.
This thing overall is a pretty short collection of songs, and a good handful of the songs
on here, despite the fact that they may bring up some great sounds or some great melodies,
do feel a bit unfinished, may end kind of abruptly, like the track The Way We Used To,
which has this very repetitive vocal line that starts right at the beginning of the
track, eventually gets layered with multi-tracked vocal lines on top of that as it progresses.
But as far as the verses and the chorus of that track go, it doesn't really stand out
or feel all that developed, I guess.
It's memorable, not really anything else that happens from beginning to end.
The track Appalachia ends kind of suddenly, just with no warning whatsoever, and I kind
of feel like the song could have gone on a bit longer.
And while the track Boyfriend is one of the longer tracks on here and one of my favorites,
it kind of hits a brick wall too as soon as it reaches its ending.
And the track Our Work Was Good doesn't even really get started.
It's just kind of an idea and then it fizzles out.
However, that is kind of the extent of my negative views on this collection of tracks,
because I do love a great deal of what is going on here.
And there's no reason it can't be enjoyed by fans or just people who are willing to
kind of take it for what it is, or are looking for a female singer-songwriter with kind of
a dark edge and an acoustic aesthetic.
For me, maybe the biggest highlight on this entire LP is the opening track, Flatlands,
which is the longest song on here and maybe the most developed.
There's an acoustic guitar on this track that has a bit of a twang to it, some soft, soft
vocals, delicate string sections that interject beautifully on the choruses, and maybe, maybe,
maybe some very subtle and just mixed low synthesizers on the track too.
Not to mention a very, very steady and subtle drumbeat, kind of keeping things up from behind.
And I love the vocal melody on this chorus.
I mean, it's as pretty as it is dreary.
And the lyrics of the song are [E] pretty awesome as well.
Chelsea kind of [N] stating her preference for flatlands, simplicity, just barren-ness.
_ And the twang of the track, you know, kind of reminds me of a desert setting for sure.
And it's funny because Chelsea describes this place of nothingness where she wants to be,
but she asks the listener or someone she has in mind to come along with her.
And the track's spinning centers, I love how Chelsea changes up her vocal delivery a little
bit on that track.
It's whisper quiet, eerie quiet, and the vocal melody on there to me feels like inspired
by a piece of very [E] archaic folk music.
I mean, like something centuries old in a sense.
And the strings on this track, they're all over the place just like on the opener, but
they're not playing some heavily arranged piece or just kind of like laying along with
the chords of the track.
They're kind of like adding these high-pitched whines just [N] very subtly, very quietly throughout
the song, adding some weird and kind of unsettling textures.
And the track Boyfriend is easily the slowest track on this LP, and it's got this acoustic
guitar phrase that is just sharp and dark.
It's weird because I think of this guitar phrase and I think of how heavy it would sound
if it were played on like a distorted guitar through an amplifier.
And while I am thinking of that, what catches my attention is just how spectral Chelsea's voice is.
And toward the end of the track, a synthesizer introduces itself into the mix, but it is
mixed loud into the track, and it's just really heavy, low-end, bassy.
And the melody that it's playing, [E] _ it's something that feels so gothic.
And I don't mean like industrial gothic, I mean like candelabras, crows, _ cobwebs, architecture.
It's just really chilling, just very icy.
And the track Hyper Oz, toward the end of this LP, is an auto-harp [N] ballad that features
another standout melody, maybe one of the more memorable ones from this entire LP, despite
being such a short track.
Overall, I thought this was a very good collection of songs.
I just thought it could have used a bit more development.
I mean, that's all.
You know, a few of the tracks on here really could have been longer, could have used just
more sections, more parts.
And I just would have loved to have heard more acoustic songs from Chelsea, because
the songs on here that work, work [D] really well.
And you know, while in a way the title [Ab] here does imply that we may not get another acoustic
album soon, I will most definitely be looking forward to any acoustic songs that do happen
to make it onto any album that Chelsea puts out in the future.
Alright, feeling at a light to decent 7 [N] on this Unknown Rooms collection of acoustic songs.
What did you think of it if you've given it a listen?
Did you love it?
Hate it?
Why?
And what should I review next?
_ Anthony Fantano, [A] Chelsea [C] Wolfe.
Forever.
_ [Am] _ _ _ _ [F] _ _ _ _ [G] _