November 7, 2024 • 42 mins
Chelsea Wolfe is a singer-songwriter with an original and unique style that blends everything from folk music to synthwave and doom metal. In this episode, we catch up with Chelsea to discuss all things music, including her recently released Undone remix EP. Chelsea talks about the thrill of hearing her music through fresh perspectives, the importance of individuality and the refreshing shift from competition to community in the industry. We also dive into Chelsea’s creative process, vocal technique, and inspiring artists like Stevie Nicks, Patti Smith, Converge, Full of Hell, Townes Van Zandt, and so much more. As always, brought to you by Sailor Jerry!
https://www.instagram.com/cchelseawwolfe/
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Episode Transcript
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Speaker 1 (00:00):
I'm stoked to have you here on the Sailor Jerry
podcast, chelsea, I'm a big fanand I feel like we're just
having you on.
I feel like we're leveling upin a way.
So thank you very much for yourtime.
Speaker 2 (00:11):
Oh my God, that's really nice.
Thank you, fan of yours as well.
I think we've met in personlike ages ago, right, I mean?
Speaker 1 (00:18):
I think so.
Yeah, a long time ago, time ago, I think, probably sometime
around.
Pain is Beauty around that time.
But yeah, it's been a minute,you know.
So it's cool, it's good, it'sgood to reconnect, awesome.
(00:39):
Well, let's jump in herebecause the Undone EP is out now
.
We got six sick remixes fromyour latest album, your seventh
studio album.
She Reaches Out to.
She Reaches Out to she album,your seventh studio album she
Reaches Out to.
She Reaches Out to she.
And before we kind of dive intothe remix journey, I kind of
want to go back to writing andrecording the album itself, if
we can, because I know you werekind of coming off of a couple
(01:00):
collaborative efforts.
We'll talk about the Convergealbum and the X soundtrack.
So kind of where were you at asan artist, going into writing
your seventh record?
Speaker 2 (01:13):
Well, when I started it, it was like I was still kind
of, I don't know, in a sort ofpast version of myself.
It feels so far away right now.
It's strange to talk about, Iguess.
Yeah, I mean, I had had theseplans to do the sort of acoustic
tours that I was doing in 2019and then early 2020, and then
(01:33):
obviously, everything changedand so what I wanted to do was
like actually get together inperson with my band and do a lot
of like playing and writingtogether.
And since that wasn't possible,it became like another pandemic
record where we were sort ofsending ideas back and forth and
then, you know, collaging themtogether.
And then, when we were finallyable to get together, I was like
(01:54):
ready to take the songs to adifferent level and I really
wanted to work with a producer,even though we had already done
so much demoing andpre-production work, and that
person was Dave Siddick.
So, so much demoing andpre-production work and that
person was Dave Siddick.
So, yeah, once we got into thestudio with him, it was like I
had gone through a lot ofchanges, like getting sober in
my life and um, from alcohol andand different things.
So I was kind of like into thisidea of like, transformation
(02:16):
and change.
And the songs did transform andchange a lot in the studio and
became these more likeelectronic songs.
Speaker 1 (02:32):
And when they were originally a bit more rock and
roll.
So yeah, yeah, totally.
And like what about the?
Was the recording process ofthe album, like how much do?
I'm curious about this becauseyou know you mentioned, like you
know, the band aspect of ofwanting to.
You know, when you write a song, you know nowadays it feels
like bands kind of get into aroom less and less and less and
kind of hash out.
Songs are more created in thestudio nowadays and that's just
(02:54):
the way it is and that's kind ofthe way it's always been to a
certain, you know, to a certainextent with different bands.
But for you, how much of thisrecord kind of came to life in
the studio and how much did itchange?
You know what I mean.
Speaker 2 (03:10):
I know I find it actually really sad that there's
like less and less of actuallymaking music together in person,
like after the pandemic, afterthe yeah, after the pandemic
times especially.
I'm just like if someone wantsme to collaborate and just wants
me to send stuff over email, Iget like like I wish I could
just go be in the studio withyou.
So I tried to, I tried to dothat as much as I can these days
(03:30):
, but anyways, yeah, I thinkthat the main thing, like I said
once we got into the studiowith with Dave Siddick, like his
studios is much, more um,electronic.
He has a lot of like analogsense.
He has this wall of modularsynths and so we were taking
elements of like vocals, guitars, drums, and running it through
all these modular synths and itwould come out the other side
sounding totally different.
(03:51):
And so it became acollaborative process like, um,
jess, our drummer was, you know,doing a lot of like messing
around on on this pulsar synthand you know we were trying
different techniques than wenormally do as players in the
band.
So it was, it was interesting,it was challenging, you know, at
times too, but, um, I think itwas the right thing.
Speaker 1 (04:12):
I think it was like what this album wanted to be,
because I was really happy withthe sound in the end awesome and
you know kind of going along alittle further down that rabbit
hole we were just kind oftalking about with.
You know writing live and youknow writing in the studio.
Do you find that?
You know, I found it's kind offunny, like with the Bronx.
You know, the first couplerecords mostly I mean everything
(04:36):
about the songs were written ina room together as a band live.
And you know, when you get intothe studio it's just kind of
about getting the performanceright, fixing whatever needs
fixed, and then you go out andyou tour.
And one of the funny things thatI've noticed about later on in
the band's career, as we makerecords and you know, as we're
(04:58):
all living in different spotsnow and we're sending ideas back
and forth, and you start torely more and more on things
coming together in the studio.
And then you kind of have thislike you get to this point as a
band where, or as an artist,where the record's done and
you're stoked on it and it'scool.
And then it comes time to playand you're like, oh shit, like
(05:18):
we made all these songs in thestudio, like now we kind of have
to like relearn, like how, likehow to like play them live and
like how to like, do like how tolike make it make sense as,
like everyone on stage together.
You know it's like.
Did you find yourself likehaving to kind of go through
that process as well?
Speaker 2 (05:36):
Yeah, it was a lot of work actually Because, like I
said, it's like there wassomething that was like written
as a guitar part and then wemade it into like almost a synth
sounding thing, but then, likeour guitar player, brian, like
had to sort of relearn it as aguitar part.
So it was kind of honestly kindof fucked up and twisted in a
way, but um, but it did cometogether.
(05:57):
It just took a lot of work tolike find the right ways to make
these sounds happen live alsoin like the least complicated
way, because we didn't want tobe bringing like a million
synthesizers on the road.
You know, we did bring thepulsar but yeah, trying to sort
of like relearn how to playthings on guitar and stuff like
that and make it kind of soundthe same as the record.
Speaker 1 (06:15):
So it was, it was interesting, for sure yeah,
awesome, and you know whenyou're, when you're in the
studio.
At this point in your career,how comfortable are you in the
studio, Like when you'retracking vocals?
I know that can be kind of anightmare situation sometimes if
it's not like coming out theway you want it or your voice
(06:36):
isn't sounding the way you wantit to sound.
These days, for this lastrecord, are you feeling pretty
pretty cool and confident in thestudio nowadays, or or do you
still have a little bit of youknow like?
Do you still have like bad daysat the office?
You know what I mean.
Speaker 2 (06:53):
Yeah, honestly, I would say these days, like in
2024, I'm a lot more comfortable.
I've been like writing some newsongs with some producers and
like it's been really fun tosing in studio.
But actually for um she reachesout.
I did most of the vocals athome, like I just borrowed a
really nice microphone from umdave and it wasn't like I didn't
(07:16):
want to do it in there.
It was kind of like our time waslimited.
You know, because he's in la,I'm in northern california.
So like every time I went downto the studio it's like this,
you know, six hour journey orwhatever.
So I wanted to kind of make themost of our time and you know,
I had time at home to be able towork on the vocals.
But yeah, and like, honestly, I, up until recently I I've
(07:37):
actually enjoyed doing vocals onmy own.
Like I like the editing processand like, yeah, fucking with
things.
But but yeah, these days Ithink I'm a little bit like sick
of working by myself and doingeverything by myself.
So I I am like I'm looking forproducers who enjoy working with
vocals, Cause I don't feel likeI've ever really had that
before.
Like I've worked with somegreat producers but none of them
(07:58):
were, like particularlyinterested in the vocals aspect,
which kind of, you know, that'slike my main instrument.
So yeah, that's kind of likewhat I'm seeking these days.
Speaker 1 (08:09):
Yeah, I was talking to a buddy of mine who made a
record with Kurt Ballou ofConverge and you know Kurt's
such a great producer and such agreat guy.
But, it was really funny becausehe was like, yeah, you know,
when the band was like liketracking, like they spent so
many like just hours and dayslike dialing in guitar tones and
and kick drum sounds, and thenwhen it came time for me to do
(08:32):
vocals, he was like, yeah,whatever, that's good I know,
and I don't think it's anythinglike personal or I don't think
they mean to do.
Speaker 2 (08:38):
I think it's probably just more fun to dial in like
guitar tones and drum tones andstuff like that.
But um, but yeah, it is likekind of you always get like the
short end of the stick as asinger sometimes.
Speaker 1 (08:48):
Yeah, yeah, and it's cool.
You know what you were talkingabout.
With singing alone, I thinkthat the more comfortable you
get, especially in the in themodern era of everyone kind of
having like a home studio, I'llnever forget Like we were doing
our second record.
It was like our big major labelrecord and we had this producer
guy, michael Beinhorn, and hewas like notorious with you know
(09:10):
vocalists and he was just youknow, it was like a build you
down, break you down, build youback up type of producer guy and
he was talking he did SuperUnknown and he was talking about
Chris Cornell doing vocal takes.
He was like, yeah, basicallyyou know he by the end of the
record he was just like doingvocals on his own and it was
just like you know.
(09:31):
It's like you get to that point,I think, where, as long as
you're confident in your abilityto that, you know what you're
doing is good and you have someconcept of whether or not you're
in key or on pitch or whatever,singing in front of like a band
on a couch and a producer andthe thing and like sometimes
it's just not, it's just notthat cool, you know, it's not
(09:51):
that fun and it doesn't like, itdoesn't bring the best out in
you, you know.
So I'd like singing at home, inyour own environment, where you
can really get into it is.
It feels just like such abetter choice.
You know, like 90% of the time.
Speaker 2 (10:06):
Yeah, and I mean that's very true.
Yeah, and maybe there's anaspect of like singers are like
so particular and it is likethis such like weird personal
thing that like maybe that's whyit feels like the producer
isn't as interested, orsomething like that.
Maybe it's just kind of likemore in your head, you know,
definitely not trying to likecall anyone out or something
like that.
Maybe it's just kind of likemore in your head, you know,
definitely not trying to likecall anyone out or something
(10:26):
like that.
It's more just like it's just aweird part of the process for
sure.
So, yeah, doing it at home, Idon't know, I feel like I've
gotten some better vocal takesdoing it by myself, but, um, at
the same time, it's like it is alot of work and it's a lot of
like spending time by yourselfwithout like instant feedback.
So that part is challenging.
Speaker 1 (10:46):
Yeah, that's true, you don't have like the instant
feedback or you know, which iskind of crucial, you know.
So that's a good point.
You know, continuing to justtalk about singing and your
voice, since we're on thesubject, you know you've got
such an incredible voice, aunique voice.
You know, I know you've beensinging for a long time, You've
(11:08):
been playing music for a longtime, was there.
You know how long did it kindof take you to kind of step into
your voice, you know, becauseis it something you've always
kind of had and been comfortablewith, because I know you've
been writing songs, you know,early on, were you singing early
on as well?
Have you had any vocal trainingor anything like that?
Speaker 2 (11:28):
Well, thank you, it's very nice.
Yeah, I just started singing ata really young age and I never
took lessons until my albumAbyss.
When I was writing that album,there was this demo that I wrote
but I couldn't like hit thenote full voice and so I found a
vocal coach named JulianaGondek in Los Angeles and she I
(11:52):
didn't take like that manylessons but it was really
helpful.
I never really hit that note,but I did learn a lot and she
actually gave me this likereally personalized vocal warmup
that I've used like every show,every recording since then, but
that's been like the mosthelpful thing.
I don't know.
I've had like different eraswhere I feel like my voice is
(12:13):
just I'm just really comfortablewith it.
Like I'm feeling like thatright now.
I felt like that on Apocalypses.
And then there's sometimeswhere I feel like I'm
experimenting so much that it'slike almost getting confused.
Like I feel like during the Abera I was like trying out so
many different things that likeI'm not sure it was all working
but, um, but yeah, right now I'mfeeling super comfortable in my
voice, I think maybe just causeI'm getting older and like
(12:34):
finding just sort of like easeand things that I'm doing, so
that's been feeling kind of niceyeah.
Speaker 1 (12:39):
That's that's awesome .
Yeah, that's that's awesome.
Yeah, that's always a goodfeeling when you're kind of in
that comfortable spot with yourvoice and you're you know.
You know you're used to howit's sounding and you kind of
know what you're going to getout of it and you're allowed to
just kind of focus on, you know,being an artist, writing your
lyrics, performing live, becauseyou don't have to stress about,
(13:00):
you know, the sound of yourvoice or the performance of your
voice, you know so that's thesweet spot.
I'm glad you're there right now.
That's good.
You know kind of going into theremixes here.
Uh, is this the first timeyou've ever done a remix, ep
yeah, first time.
Speaker 2 (13:15):
I've always wanted to do something like this, so it's
been great.
Speaker 1 (13:18):
That's crazy.
It feels like it would be likesomething that you know this is.
I feel like your music is kindof like just tailored to
something like this.
What was the you know what took, what took you so long?
Why?
Why was it now that you wantedto do a remix album?
Because, um, you know it's.
It's incredible and, honestly,if I was, uh, someone who was
(13:42):
capable of, uh, you know,remixing your music, I would be
frothing to try to get a hold ofa Chelsea Wolfe track.
So what was the kind of ideabehind the remixes and why does
it make sense for you to do itnow?
Speaker 2 (13:58):
I think the nature of this album and all the
different textures and andsounds on it, they just kind of
lend themselves to that.
And it was kind of just likethis simultaneous thing where,
like me, my record label, mymanagement like all kind of had
the same idea of like let's,let's do a remix album for this
one, and it just kind of seemslike it was meant to happen for
(14:21):
this record.
I don't really know why Ihaven't done it before.
I mean, maybe it was like thepeople I was working with before
weren't really interested in alot of like outside connections
or something, but um, but yeah,now I'm like I'm super
interested in like hearing howother people translate my music
and things like that.
So it was a really fun project.
Speaker 1 (14:40):
Awesome and kind of getting into who you chose to do
these remixes.
I'm not going to pretend likeI'm a remix expert here.
Bronx has had one song remixed.
We had one done by Jason Hillof Louis XIV for the Snakes on a
Plane soundtrack.
But you, these are sick.
(15:04):
My favorite is the Ash KushaDusk remix because it's just,
it's insane, like it's so goodand you know what was your
process going into selecting theartists who were going to remix
your work and you know kind ofhow nerve wracking was it
waiting for those files to comeback and like fingers crossed
(15:25):
that it's going to kick ass, youknow.
Speaker 2 (15:27):
Yeah, you know I had a good feeling that I would love
all of them and I totally did.
Yeah, ash Kusha is a reallytalented artist.
He reached out to me a fewyears ago about singing on a
song of his and, and I did thatand then had heard a few of his
other remixes and kind of justsort of had him in mind for if I
ever got to do something likethis.
I also really love the way hetook that remix and made it a
(15:49):
lot, made that song a lot morelike dramatic and melancholy.
Um, and yeah, I mean it waskind of like a group effort like
I definitely had some people inmind.
Like full of hell was top of mylist.
You know, I'm such a fan ofthem and thought it would just
be so cool to have like a metalband remix a song, you know, um.
(16:09):
And when I got that one back itwas like I was just so excited,
like I just felt like this iswhat a remix should be.
You know what I mean?
Yeah, I mean Crosses.
I love their music.
Obviously, I love Chino's voice, so it was such a special extra
thing to have him add hisvocals on there.
I was really, really honoredand grateful for that.
(16:30):
That was so cool.
Yeah, I mean I feel likethey're all kind of obvious
picks, justin.
Speaker 1 (16:35):
Broderick and Boy Harsher.
The Boy Harsher remix isfucking great.
It's really really good.
I dig that one as well.
I like them all.
Yeah, really really cool.
Incorporate, you know, any ofthe kind of remix, you know mojo
(16:59):
, into some of these songs asyou perform them live.
Or is this just a just an EP,just just to listen to?
Uh, just kind of something coolto put out.
Speaker 2 (17:05):
Man, I mean I wish I was that cool, but I haven't
even thought about that.
So I don't think that I'll belike incorporating the remix
versions in a live setting, butthat would be cool.
I mean, maybe, mean, maybe,maybe someday you never know
like if I tour with full of hellwe could sort of come together
and do that or something yeah,that would be sick.
Speaker 1 (17:22):
That would be sick.
I saw your.
I was just looking at, uh, someof your tour dates.
I know you're going over to theuk uh soon.
And then I was looking at yourchristmas.
You're doing two nights at thechurch in philly.
That's's going to be awesome.
Speaker 2 (17:34):
Yeah, actually just one.
We're just doing two different.
First, unitarian churches.
One of them's in New York,which I don't think.
It seems like it's not as wellknown.
But yeah, we're doing a littleDecember tour.
It's going to be prettystripped down and I'm excited
about that one.
But just announced that today.
Speaker 1 (17:52):
Awesome.
Yeah, it's going to be sick.
Everyone be sure.
Go get your tickets for that,for those December shows as well
as the UK shows.
You know kind of diving intosongwriting a little bit here.
What is?
I'm curious about yoursongwriting process, you know,
because there's people whoapproach it like a discipline,
who you know they wake up everyday and they kind of clock in
(18:14):
and they try to create something, you know, and whether it's
good, whether it's bad, isn'treally the point, it's just
about continuing the creativeprocess.
And then there's other artistswho just kind of wait for the
moment, you know, wait for anidea, wait for inspiration, wait
for a lyric, wait for a melody,wait for inspiration, wait for
a lyric, wait for a melody.
(18:34):
And then they kind of, you know, chip away at a song over time
or maybe it comes togetherquickly.
You know every song's different.
But where do you kind of lean,you know, in the songwriting
process?
Like, are you more, you know,the kind of disciplined, wake up
every day, think about music,or are you just kind of at this
(18:55):
point, hey, when I get an idea,I know it's going to be cool and
I'm going to chase it down therabbit hole?
Speaker 2 (18:58):
I think a little bit of both.
When I'm sort of in the midstof like, okay, I've got this
batch of songs and I want it tobecome an album, I will sort of
get more regimented about it.
And like I kind of enjoy thoseperiods of time where I'm, like,
you know, waking up in themorning and I have like a sort
of set writing schedule.
I enjoy that.
But then, once an album isfinished, it's like there's sort
of this lost period whereyou're just like, okay, what's
(19:20):
next?
And usually kind of dive intothe rehearsal aspect.
So you're not, you know,obviously not writing as much,
You're just sort of like gettingthese songs ingrained into you.
And but in between that, yeah, Imean, I think I used to be much
more of like a you know waitingfor like bursts of information
or inspiration kind of person.
Yeah, these days, like I justsort of I keep track of ideas as
(19:40):
they come, Like I just kind ofalways had like a simple
recording set up ready.
So if I have ideas, I can just,you know, even if it's like 20
seconds long, I can just recordit, and then I try to stay
really organized.
It's like been, one benefit ofgetting sober is like my ideas
aren't just like total messeverywhere.
Now they're just.
They're like a lot moreorganized.
So that's been helpful.
Speaker 1 (20:01):
They're no longer lyrics on bar napkins yeah,
exactly Like 25 folders on mydesktop.
Speaker 2 (20:08):
Yeah, so that's.
That's been cool, but yeah.
Speaker 1 (20:11):
Awesome what?
Yeah, it's interesting toobecause I think you, like you're
saying a a mix of both isprobably the best way, because I
think if you sit around waitingfor inspiration quote unquote I
think you waste a lot of timeand sometimes if you get up and
you step to the piano or youpull out your laptop and start
(20:32):
writing, you can kind of sparkyour own fire.
You know what I mean.
So I think it's key to kind ofhave both aspects of that.
It always kind of trips me out,though, when people are super,
super regimented and it's likelegit, like nine to five, you
know, like it's kind of.
It's just that I don't know ifI could ever really be like that
, but I like to have you know.
(20:54):
I like you know it's nice to bea musician and an artist and
you kind of get to live life alittle bit differently.
So I don't like snapping into agrid too much.
Speaker 2 (21:04):
Yeah, exactly, I can only snap into grids for like
short periods of time and theneither like I travel for a while
and it gets all messed up, or Ijust kind of like feel like I
need to bust out of that orsomething.
Speaker 1 (21:15):
Yeah, yeah, what about when?
Whether you're writing a songor whether you're listening to a
song, what are, like, thecomponents that stick out, like
what makes a good song to you?
Speaker 2 (21:25):
That's such a big question.
I tend to like think in albumswhich I'm trying to get away
from because I sort of love thefeeling of like when themes
start to sort of like rise upand you see them in different
songs that you're writing, andthen I kind of love like
thinking about how they're allgoing to work together.
But I think that maybesometimes that can be in like
(21:45):
the detriment to each songthemselves.
You know, cause I'm not lookingat as closely at each song or
something.
But yeah, these these days I'mdefinitely like focusing more on
one song at a time and like Iwant to get better as a
songwriter.
Like you know, I think I havelike a cool body of work, but I
don't think I'm, like you know,the world's best songwriter or
something.
So I feel like I have a lot ofroom to grow in that area, which
(22:08):
is actually kind of exciting tofeel like that as like a 40
year old person in this world.
You know, I feel like Iactually still have like a lot
of room to grow and a lot ofthings to learn and experience
as a writer and as a creator.
So, yeah, these days I'm I'mjust trying to expand more
beyond, like, yeah, thinking oflike a group of songs and just
(22:29):
thinking of a song as its itsown thing, and like how can I
put as much like love and energyinto that?
And I don't know.
Sometimes I think that takingaway elements of the song can
make it a lot better as well,you know.
So sometimes I hear thingsabout my past songs where I feel
like I would take a lot awayand sort of let the best
(22:50):
elements of it shine.
So I'm not really answeringyour question, but I'm just, uh,
rambling about.
Speaker 1 (22:58):
No, you're good, You're good.
Josh Homme, from Queen to theStone Age, told me once he said
hey.
He said just remember that youknow it doesn't matter what
question they ask, it's only.
What only matters is the answeryou give.
He's like you can give anyanswer you want.
I love.
Speaker 2 (23:15):
That it's true, it's true, it is.
Speaker 1 (23:18):
What about when it comes to lyrics or melody?
What do you think is moreimportant?
Speaker 2 (23:26):
That's a good question.
I mean it's interesting becausesome of my favorite music is in
languages that I don't speak.
A band I talk about all thetime is Warduna, a Norwegian
band, and their melodies sort ofspeak for themselves, even
though the lyrics are amazing,because I've seen English
translations of them.
So I don't know, maybe it'slike in that sense melody is so
(23:47):
important because it's like it'scarries, like the whole feel of
you know, the energy of what,of what you are saying.
But I do love lyrics and youknow that's kind of like my
favorite part of writingpersonally is is really like
digging into the lyrics and, youknow, really trying to say what
I want to say in like aninteresting way and not just
like too straightforward and nottoo cryptic, you know lyrics
(24:19):
are concerned, Like, are yousomeone who's kind of you know
you have like a notebook,whether it's in your phone or,
you know, your laptop or writingor whatever, that you just kind
of keep ideas, you know, kindof stacked a little bit?
Speaker 1 (24:28):
Or is it just, you know, when it's time to write an
album or you feel inspired byplaying the guitar, that you sit
down and you'll start to, likeyou know, write lyrics to a
melody or something?
Do you write lyrics likeoutside of sitting down to write
music?
Speaker 2 (24:43):
Yeah, I keep lyrics, you know, all the time I've been
always writing.
The cool thing I've been findinglately is that, you know, I've
been putting, like I said, moreeffort and energy into
songwriting and I found that,like songwriting like begets
more songwriting and like it'sbeen kind of this like yeah, I
mean it's obvious maybe, butit's kind of this unexpected
(25:03):
thing where, like I've, you know, wrote this really specific
song about a really specificsubject that was kind of in this
, like upbeat, I don't know,kind of rock vibe, and then the
next day I just suddenly hadthis inspiration and went
outside and wrote almost anentire folk song out of nowhere,
like lyrics that I didn't haveplanned or anything like that.
(25:23):
So I do think that just likethe practice of taking action on
songwriting is just yeah, likecreating this sort of ripple
effect of more songs coming thatare just kind of like I don't
know, stored somewhere within mewhere it's like not in one of
my notebooks, are just kind oflike I don't know stored
somewhere within me where it'slike not in one of my notebooks.
Speaker 1 (25:40):
Yeah, that's really cool and it's like it's nice to
have, you know, the idea of,like you know, you know you
wrote a cool lyric here andhopefully you can put it in a
song somewhere.
Or when you do have music, youknow, you know you've got some
ideas.
But you know, sometimes justgoing back into the, into what
you've already written, it canbe kind of I don't know.
(26:01):
It can almost feel like you'retrying to pull from something
and it can almost fuck with yourlike present tense, creative
energy, I feel like, and so it'scool that it's.
It's always such a good feelingwhen you know you're this far
along in your in your career andyou still have songs and ideas
like falling out of you.
You know that's like the bestfeeling.
(26:21):
It's like yes, Totally.
Speaker 2 (26:24):
Yeah, no, it's kind of been fun, like, I think when
I was younger I wrote a lot morein that sense of like, where I
would just I would read a bookthat I really loved and
instantly write a song about itor something, and I found that
what I'm kind of coming back tois like I really work well with
like a writing prompt, as sillyas that sounds Like.
If, if I'm given a sort of likeassignment or if I give myself
(26:47):
a sort of like okay, I'm goingto write about this subject,
which is like, I think,something that a lot of people
do.
I just didn't really realize it?
Speaker 1 (26:53):
I don't know.
Speaker 2 (26:53):
I'm too much of a loner.
I need to spend more time with,like other creative people so I
can learn these things sooner.
But yeah, I love.
I love having like a sort ofprompt to write about.
It just obviously sparks a lotof creativity and it's a lot of
fun to work that way yeah, it'scool and you know it's funny.
Speaker 1 (27:11):
you just said, like you know, about being a loner
and working with other artistsand stuff like that.
It just kind of it sparked athought of me because I always
think how cool it is that youknow, everyone's kind of
creative journey is different.
And for me, just for reference,in like our band, when we first
(27:31):
started, our guitar player,joby, you know he wrote most of
the songs, like as far as musicyou know is, he would come up
with an idea and I would come upwith lyrics and melody and we
would basically write the song,present it to the band and we'd
build it from there.
And after being a band for solong, you start to see different
(27:52):
members kind of step into theirown power as far as writing
songs and discovering who theyare kind of, as they get more
and more involved in theirinstrument and music.
And I always just think thatit's really cool, that like sure
you could have, you know, grownup writing and recording with
all these other people andlearning all these lessons right
(28:12):
away.
But it's like your path is yourpath, you know, and it's like
everything makes sense.
It's like like now for us as aband.
The fact that we have our bassplayer, brad, and our other
guitar player, ken, steppinginto their songwriting years, it
makes the band's evolution justnatural and it's like that's
(28:32):
how you just evolve and changeas artists and band.
And so it's cool that you're onyour path and it's awesome.
It's like you're discoveringstuff when you discover it.
I think that adds to the factof you still feeling like your
best music is ahead of you,because if you blow it all out
in your younger years orwhatever, I think that's a
(28:55):
mistake.
It's cool to evolve as lifehappens as an artist and you
know it's it's.
It's rad that you're kind of onyour own path.
You know I've alwaysappreciated that about you.
Speaker 2 (29:10):
Yeah, that's so true.
Yeah, I think also like andunfortunate things.
Like when I was first kind ofcoming up as a musician, there
was a pretty different energy inthe industry where, like women
artists were kind of gettinglike pitted against each other,
where, like it almost felt likeyou really wanted to
differentiate yourself fromother artists, instead of there
being this sort of communitywhere you were getting inspired
(29:32):
by each other and sort ofplaying off of each other, which
I think is really natural inmusic scenes in different eras.
Yeah, no, I'm like I'm moreinterested in like in community
and being in collaboration withother people and being inspired
by other artists and it's.
It's a nice feeling actually.
Yeah, like, actually when I wason tour in Europe, I had a day
off in Paris the day that EthelKane was playing and I went to
(29:54):
see her play and just her, herstage presence and like her,
like just the beautiful, likemelodies of her songs and how it
was like catchy but still kindof like strange and moody was,
was really inspiring to me andlike I felt like the next night
when I was on stage in Paris,like I kind of was like
channeling that a little bit and, you know, channeling, like her
, her comfortability on stageand stuff, and I was like it's
(30:15):
so nice to be able to feel likewe can, you know, be, be
inspired by each other asartists, and it's not this thing
where it's like a competitionanymore, you know.
Speaker 1 (30:23):
Yeah, that's awesome, that's really cool.
You know, kind of speaking onthe collaborative tip here, you
know you've always gotten a lotof love from the punk and
hardcore community.
You know I think that has a lotto do with your.
You know you got like a rawspirit.
You know you got like a rawspirit.
You know you just got that vibeabout you.
You understand and appreciatethe music as well, of course.
(30:44):
But in 2021, you kind ofcemented your place in the
hearts of hardcore music loverswhen you got together with
Converge for Blood Moon.
We got a lot of questions aboutthis, you know.
So people just kind of wantedto know how that record kind of
came about, how thecollaboration come about.
Uh, you know, songs like lordof the liars are so sick and
(31:07):
that record is just awesome.
So, you know, kind of walk usthrough the process of how that
all happened yeah, I mean it'slike an idea.
Speaker 2 (31:15):
I think that started maybe in 2015.
My band was rolling throughSalem on like a day off before
Boston and my bandmate, benChisholm and Kurt Blue met up
and I think that's kind of likewhen the idea started of like
taking some Converge songs andsort of bringing them to a
different place and, you know,collaborating in that way, and
(31:36):
so we did some shows eventuallythat were like just Converge
songs, where Ben had sort ofknow done some different
instrumentation and I wassinging on some of them and then
eventually decided to actuallywrite some original songs
together.
And once again, it was likeduring the pandemic, so there
was a lot of like sending stuffback and forth.
I actually had us do this sortof like ritual where we like
(31:58):
chose a time and day.
I had us do this sort of likeritual where we like chose a
time and day and I asked ifeveryone would like sit down and
close their eyes and like tryto imagine all of us together so
that we could sort of likeunify our energies.
And that was really fun.
This was the conversion projectwas like the perfect thing for
me, as I was like first gettingsober because I think I really
needed something to like channelI don't know all this like
(32:20):
weird newfound energy anddiscomfort that I was feeling
into.
So that was actually like aperiod of time where I was
really more regimented and I waslike getting up and just
sitting down and working onthese songs and once again, like
once we were finally able toget together in a studio and the
Crate studio in Salem it waslike just I don't know so joyous
(32:40):
and celebratory and fun just tobe in the same room finally and
get to sort of put thefinishing touches on these songs
.
And yeah, it was just such afun project.
I feel like it stretched mevocally in different ways and
really great, awesome.
Speaker 1 (32:55):
Let's hit some questions from the internet here
.
Okay, I don't want to take uptoo much more of your time.
You know, chelsea, this hasbeen awesome and I'm going to go
ahead and apologize in advancefor some of these.
Okay, because it's the Internet.
The Internet is the Internet.
Speaker 2 (33:11):
I love that thing.
Speaker 1 (33:11):
The first one here is Chelsea.
You are playing my Hometown onHalloween.
Speaker 2 (33:32):
Do you celebrate Halloween and, if so, what has
been your greatest costume?
Costumes where it was like halfcheerleader, half dead
cheerleader, like anything thatI would dress up as half of me
was dead.
So it's kind of strange, but Ifeel like it's kind of like my
personality in a nutshell I likethat.
Speaker 1 (33:46):
That's, uh, that's, that's pretty cool.
Uh, let's see chelsea.
Recently, hollywood remixed oneof my favorite movies, the crow
, and they butchered it.
Are you a fan of film and isHollywood running out of ideas?
Speaker 2 (34:03):
Yeah, I love films, love movies.
I don't know, I mean I thinkremakes can be fun.
I know people love to hate ifthey're like a really big fan of
the original, but like I find Ican enjoy them in like the
context of being somethingdifferent.
I haven't seen the Crow yet,but I mean the cast is amazing,
so I'm sure it'll be at leastcool in that sense.
But I don't know, like whenthey redid um, I like did like a
(34:26):
sequel to the craft.
I thought that was stillenjoyable to watch, even though
it was like such a differentthing, and obviously I love the
original.
But I don't know.
I think that there's probably alot of great ideas floating
around in hollywood that justaren't getting made because
there's probably not a lot ofmoney from the people on top
that are investing in likeoriginal ideas and they just
want what sells.
Speaker 1 (34:47):
Yeah, that's a good point.
I think that's it too.
Let's see here.
Chelsea, what advice would youhave for the next generation of
artists?
Speaker 2 (34:57):
I would say try to figure out what it is that makes
you weird or different and,instead of fighting against that
, try to embrace it.
I definitely spent a lot ofyears like maybe fighting
against like my natural way ofwanting to present myself,
because there was like othervoices in my head telling me
that I, like needed to present,you know, in a nicer way or
prettier way or something likethat.
(35:18):
So just just go with like whatyou truly want to do, Like even
if it seems weird or ugly or notlike palatable to society as a
whole, like I think that'susually your, your strength and
not your weakness.
Speaker 1 (35:31):
Awesome, that's really cool.
Um, okay, we got, uh, a littlelove hate here.
Speaker 2 (35:38):
Um a little love hate here.
Um, what do you love aboutbeing a musician?
I love singing.
I love the feeling of whenyou've written a song that you
feel really good about.
I love that it's constantlyabout like overcoming challenges
and personal limitations andself-doubt, because I'm not the
type of performer personallythat is like wants to just jump
(36:00):
up in front of anyone or like beon camera or be on stage, so
like having having to overcomethat feeling is like it does
feel good afterwards when I'mlike okay, I like I did that,
even though it was really hardfor me, you know.
Speaker 1 (36:13):
Hell yeah, that's awesome.
Uh, what about?
What do you hate about being amusician?
Speaker 2 (36:18):
It's a little tough right now because everything you
know like there's obviouslylike inflation for everyone and
that includes the music industryand like touring right now is
really expensive and it's hardto like actually make money from
doing nearly anything.
So it's like that's not that.
That's like why I do it.
It is my job and I do need tolike make a living to keep doing
what I'm doing.
(36:38):
So it's just a little bit morechallenging now, I don't know,
but other than that, it's likewhy I do it.
It is my job and I do need tolike make a living to keep doing
what I'm doing.
So it's just a little bit morechallenging now, I don't know,
but other than that, it's likeobviously this is what I meant
to do and like what I love to do, so I feel super grateful to
get to do it at all.
Speaker 1 (36:49):
That's awesome.
That's awesome.
A couple pickums here.
We're just going to name acouple artists.
Tell me which one you likebetter.
Let's start with uh, nick caveor trent resner I mean, they're
both incredible.
Speaker 2 (37:02):
I think I would say for me personally uh, nick cave
nice.
Speaker 1 (37:07):
What about uh salvador dolly or pablo picasso?
Speaker 2 (37:11):
dolly oh nice, uh, patty smith or stevie nicks I
just realized I have like apablo picasso tattoo, so maybe I
changed.
Did you just say Patti Smith orStevie Nicks?
Speaker 1 (37:23):
Yeah.
Speaker 2 (37:23):
You just said oh my God, you're killing me.
Equal.
I can't pick.
They're two of my favoriteartists.
Speaker 1 (37:31):
What about Danzig?
Or the Misfits?
Speaker 2 (37:35):
Misfits.
Speaker 1 (37:36):
Yeah, I think so.
I think so.
Johnny Cash or Townes, vanZandt Townes.
Okay, cool, only got a couplemore questions here.
You're crushing it.
Appreciate your time, chelsea.
A hypothetical here Timemachine.
Okay, I'm sorry to do this toyou, but I'm bringing the time
machine out Anywhere in history,any time in history history.
(38:00):
Where are you going to go firstand why?
Speaker 2 (38:02):
does that include the future?
I don't know.
I guess history is not thefuture.
Um yeah anywhere, anytime, youcan go to the future I mean,
does it have to be music relatedor just general?
Speaker 1 (38:15):
no, there's no rules to this question.
No rules.
Speaker 2 (38:19):
Well, I'm a total sucker for, like period piece
films, like I'm such a Pride andPrejudice girly.
So you know, I would love to goback to like an era where you
could go buy a dress that is,like you know, so well made and
fits you perfectly and go.
You know, they tailor it to youand it just has these big puffy
sleeves and everything.
I don't know.
That could be fun to go back tolike, I don't know, the
(38:42):
Victorian era or something likethat, and just go shopping for a
day?
Speaker 1 (38:44):
Hell yeah, all right.
Last question here it's alittle bit of a doozy, but I'm
going to ask it anyway.
So what to you, chelsea Wolf,is the meaning of life?
Speaker 2 (38:55):
I mean, I think it's a lot more simple than we make
it.
You know, obviously capitalismhas like ruined the meaning of
life because we're all just likegrinding ourselves to the bone
instead of just living, justliving simply and living slowly
and, you know, loving each otherand spending time together and
(39:28):
working together to createcommunity, instead of, like I
don't know again, like kind ofbeing pitted against each other
to try to like rise to the topof some mythical bullshit.
Speaker 1 (39:35):
Yeah, that's what I'm talking about, Chelsea Awesome,
you know.
Thank you so much for your timehere on the Sailor Jerry
podcast.
It's been really, really cooltalking to you.
The Undone EP is out now.
Everyone go check that shit out, make sure, and go see Chelsea
on the road.
You know, thank you so much fortaking the time today and, you
(39:58):
know, hopefully our paths willcross in real life here shortly.
Speaker 2 (40:03):
Yeah, totally.
Thank you so much for having me.
This was fun.
I appreciate it.
I'm stoked to have you here on the Sailor Jerry
podcast, chelsea, I'm a big fanand I feel like we're just
having you on.
I feel like we're leveling upin a way.
So thank you very much for yourtime.
Speaker 2 (00:11):
Oh my God, that's really nice.
Thank you, fan of yours as well.
I think we've met in personlike ages ago, right, I mean?
Speaker 1 (00:18):
I think so.
Yeah, a long time ago, time ago, I think, probably sometime
around.
Pain is Beauty around that time.
But yeah, it's been a minute,you know.
So it's cool, it's good, it'sgood to reconnect, awesome.
(00:39):
Well, let's jump in herebecause the Undone EP is out now
.
We got six sick remixes fromyour latest album, your seventh
studio album.
She Reaches Out to.
She Reaches Out to she album,your seventh studio album she
Reaches Out to.
She Reaches Out to she.
And before we kind of dive intothe remix journey, I kind of
want to go back to writing andrecording the album itself, if
we can, because I know you werekind of coming off of a couple
(01:00):
collaborative efforts.
We'll talk about the Convergealbum and the X soundtrack.
So kind of where were you at asan artist, going into writing
your seventh record?
Speaker 2 (01:13):
Well, when I started it, it was like I was still kind
of, I don't know, in a sort ofpast version of myself.
It feels so far away right now.
It's strange to talk about, Iguess.
Yeah, I mean, I had had theseplans to do the sort of acoustic
tours that I was doing in 2019and then early 2020, and then
(01:33):
obviously, everything changedand so what I wanted to do was
like actually get together inperson with my band and do a lot
of like playing and writingtogether.
And since that wasn't possible,it became like another pandemic
record where we were sort ofsending ideas back and forth and
then, you know, collaging themtogether.
And then, when we were finallyable to get together, I was like
(01:54):
ready to take the songs to adifferent level and I really
wanted to work with a producer,even though we had already done
so much demoing andpre-production work, and that
person was Dave Siddick.
So, so much demoing andpre-production work and that
person was Dave Siddick.
So, yeah, once we got into thestudio with him, it was like I
had gone through a lot ofchanges, like getting sober in
my life and um, from alcohol andand different things.
So I was kind of like into thisidea of like, transformation
(02:16):
and change.
And the songs did transform andchange a lot in the studio and
became these more likeelectronic songs.
Speaker 1 (02:32):
And when they were originally a bit more rock and
roll.
So yeah, yeah, totally.
And like what about the?
Was the recording process ofthe album, like how much do?
I'm curious about this becauseyou know you mentioned, like you
know, the band aspect of ofwanting to.
You know, when you write a song, you know nowadays it feels
like bands kind of get into aroom less and less and less and
kind of hash out.
Songs are more created in thestudio nowadays and that's just
(02:54):
the way it is and that's kind ofthe way it's always been to a
certain, you know, to a certainextent with different bands.
But for you, how much of thisrecord kind of came to life in
the studio and how much did itchange?
You know what I mean.
Speaker 2 (03:10):
I know I find it actually really sad that there's
like less and less of actuallymaking music together in person,
like after the pandemic, afterthe yeah, after the pandemic
times especially.
I'm just like if someone wantsme to collaborate and just wants
me to send stuff over email, Iget like like I wish I could
just go be in the studio withyou.
So I tried to, I tried to dothat as much as I can these days
(03:30):
, but anyways, yeah, I thinkthat the main thing, like I said
once we got into the studiowith with Dave Siddick, like his
studios is much, more um,electronic.
He has a lot of like analogsense.
He has this wall of modularsynths and so we were taking
elements of like vocals, guitars, drums, and running it through
all these modular synths and itwould come out the other side
sounding totally different.
(03:51):
And so it became acollaborative process like, um,
jess, our drummer was, you know,doing a lot of like messing
around on on this pulsar synthand you know we were trying
different techniques than wenormally do as players in the
band.
So it was, it was interesting,it was challenging, you know, at
times too, but, um, I think itwas the right thing.
Speaker 1 (04:12):
I think it was like what this album wanted to be,
because I was really happy withthe sound in the end awesome and
you know kind of going along alittle further down that rabbit
hole we were just kind oftalking about with.
You know writing live and youknow writing in the studio.
Do you find that?
You know, I found it's kind offunny, like with the Bronx.
You know, the first couplerecords mostly I mean everything
(04:36):
about the songs were written ina room together as a band live.
And you know, when you get intothe studio it's just kind of
about getting the performanceright, fixing whatever needs
fixed, and then you go out andyou tour.
And one of the funny things thatI've noticed about later on in
the band's career, as we makerecords and you know, as we're
(04:58):
all living in different spotsnow and we're sending ideas back
and forth, and you start torely more and more on things
coming together in the studio.
And then you kind of have thislike you get to this point as a
band where, or as an artist,where the record's done and
you're stoked on it and it'scool.
And then it comes time to playand you're like, oh shit, like
(05:18):
we made all these songs in thestudio, like now we kind of have
to like relearn, like how, likehow to like play them live and
like how to like, do like how tolike make it make sense as,
like everyone on stage together.
You know it's like.
Did you find yourself likehaving to kind of go through
that process as well?
Speaker 2 (05:36):
Yeah, it was a lot of work actually Because, like I
said, it's like there wassomething that was like written
as a guitar part and then wemade it into like almost a synth
sounding thing, but then, likeour guitar player, brian, like
had to sort of relearn it as aguitar part.
So it was kind of honestly kindof fucked up and twisted in a
way, but um, but it did cometogether.
(05:57):
It just took a lot of work tolike find the right ways to make
these sounds happen live alsoin like the least complicated
way, because we didn't want tobe bringing like a million
synthesizers on the road.
You know, we did bring thepulsar but yeah, trying to sort
of like relearn how to playthings on guitar and stuff like
that and make it kind of soundthe same as the record.
Speaker 1 (06:15):
So it was, it was interesting, for sure yeah,
awesome, and you know whenyou're, when you're in the
studio.
At this point in your career,how comfortable are you in the
studio, Like when you'retracking vocals?
I know that can be kind of anightmare situation sometimes if
it's not like coming out theway you want it or your voice
(06:36):
isn't sounding the way you wantit to sound.
These days, for this lastrecord, are you feeling pretty
pretty cool and confident in thestudio nowadays, or or do you
still have a little bit of youknow like?
Do you still have like bad daysat the office?
You know what I mean.
Speaker 2 (06:53):
Yeah, honestly, I would say these days, like in
2024, I'm a lot more comfortable.
I've been like writing some newsongs with some producers and
like it's been really fun tosing in studio.
But actually for um she reachesout.
I did most of the vocals athome, like I just borrowed a
really nice microphone from umdave and it wasn't like I didn't
(07:16):
want to do it in there.
It was kind of like our time waslimited.
You know, because he's in la,I'm in northern california.
So like every time I went downto the studio it's like this,
you know, six hour journey orwhatever.
So I wanted to kind of make themost of our time and you know,
I had time at home to be able towork on the vocals.
But yeah, and like, honestly, I, up until recently I I've
(07:37):
actually enjoyed doing vocals onmy own.
Like I like the editing processand like, yeah, fucking with
things.
But but yeah, these days Ithink I'm a little bit like sick
of working by myself and doingeverything by myself.
So I I am like I'm looking forproducers who enjoy working with
vocals, Cause I don't feel likeI've ever really had that
before.
Like I've worked with somegreat producers but none of them
(07:58):
were, like particularlyinterested in the vocals aspect,
which kind of, you know, that'slike my main instrument.
So yeah, that's kind of likewhat I'm seeking these days.
Speaker 1 (08:09):
Yeah, I was talking to a buddy of mine who made a
record with Kurt Ballou ofConverge and you know Kurt's
such a great producer and such agreat guy.
But, it was really funny becausehe was like, yeah, you know,
when the band was like liketracking, like they spent so
many like just hours and dayslike dialing in guitar tones and
and kick drum sounds, and thenwhen it came time for me to do
(08:32):
vocals, he was like, yeah,whatever, that's good I know,
and I don't think it's anythinglike personal or I don't think
they mean to do.
Speaker 2 (08:38):
I think it's probably just more fun to dial in like
guitar tones and drum tones andstuff like that.
But um, but yeah, it is likekind of you always get like the
short end of the stick as asinger sometimes.
Speaker 1 (08:48):
Yeah, yeah, and it's cool.
You know what you were talkingabout.
With singing alone, I thinkthat the more comfortable you
get, especially in the in themodern era of everyone kind of
having like a home studio, I'llnever forget Like we were doing
our second record.
It was like our big major labelrecord and we had this producer
guy, michael Beinhorn, and hewas like notorious with you know
(09:10):
vocalists and he was just youknow, it was like a build you
down, break you down, build youback up type of producer guy and
he was talking he did SuperUnknown and he was talking about
Chris Cornell doing vocal takes.
He was like, yeah, basicallyyou know he by the end of the
record he was just like doingvocals on his own and it was
just like you know.
(09:31):
It's like you get to that point,I think, where, as long as
you're confident in your abilityto that, you know what you're
doing is good and you have someconcept of whether or not you're
in key or on pitch or whatever,singing in front of like a band
on a couch and a producer andthe thing and like sometimes
it's just not, it's just notthat cool, you know, it's not
(09:51):
that fun and it doesn't like, itdoesn't bring the best out in
you, you know.
So I'd like singing at home, inyour own environment, where you
can really get into it is.
It feels just like such abetter choice.
You know, like 90% of the time.
Speaker 2 (10:06):
Yeah, and I mean that's very true.
Yeah, and maybe there's anaspect of like singers are like
so particular and it is likethis such like weird personal
thing that like maybe that's whyit feels like the producer
isn't as interested, orsomething like that.
Maybe it's just kind of likemore in your head, you know,
definitely not trying to likecall anyone out or something
like that.
Maybe it's just kind of likemore in your head, you know,
definitely not trying to likecall anyone out or something
(10:26):
like that.
It's more just like it's just aweird part of the process for
sure.
So, yeah, doing it at home, Idon't know, I feel like I've
gotten some better vocal takesdoing it by myself, but, um, at
the same time, it's like it is alot of work and it's a lot of
like spending time by yourselfwithout like instant feedback.
So that part is challenging.
Speaker 1 (10:46):
Yeah, that's true, you don't have like the instant
feedback or you know, which iskind of crucial, you know.
So that's a good point.
You know, continuing to justtalk about singing and your
voice, since we're on thesubject, you know you've got
such an incredible voice, aunique voice.
You know, I know you've beensinging for a long time, You've
(11:08):
been playing music for a longtime, was there.
You know how long did it kindof take you to kind of step into
your voice, you know, becauseis it something you've always
kind of had and been comfortablewith, because I know you've
been writing songs, you know,early on, were you singing early
on as well?
Have you had any vocal trainingor anything like that?
Speaker 2 (11:28):
Well, thank you, it's very nice.
Yeah, I just started singing ata really young age and I never
took lessons until my albumAbyss.
When I was writing that album,there was this demo that I wrote
but I couldn't like hit thenote full voice and so I found a
vocal coach named JulianaGondek in Los Angeles and she I
(11:52):
didn't take like that manylessons but it was really
helpful.
I never really hit that note,but I did learn a lot and she
actually gave me this likereally personalized vocal warmup
that I've used like every show,every recording since then, but
that's been like the mosthelpful thing.
I don't know.
I've had like different eraswhere I feel like my voice is
(12:13):
just I'm just really comfortablewith it.
Like I'm feeling like thatright now.
I felt like that on Apocalypses.
And then there's sometimeswhere I feel like I'm
experimenting so much that it'slike almost getting confused.
Like I feel like during the Abera I was like trying out so
many different things that likeI'm not sure it was all working
but, um, but yeah, right now I'mfeeling super comfortable in my
voice, I think maybe just causeI'm getting older and like
(12:34):
finding just sort of like easeand things that I'm doing, so
that's been feeling kind of niceyeah.
Speaker 1 (12:39):
That's that's awesome .
Yeah, that's that's awesome.
Yeah, that's always a goodfeeling when you're kind of in
that comfortable spot with yourvoice and you're you know.
You know you're used to howit's sounding and you kind of
know what you're going to getout of it and you're allowed to
just kind of focus on, you know,being an artist, writing your
lyrics, performing live, becauseyou don't have to stress about,
(13:00):
you know, the sound of yourvoice or the performance of your
voice, you know so that's thesweet spot.
I'm glad you're there right now.
That's good.
You know kind of going into theremixes here.
Uh, is this the first timeyou've ever done a remix, ep
yeah, first time.
Speaker 2 (13:15):
I've always wanted to do something like this, so it's
been great.
Speaker 1 (13:18):
That's crazy.
It feels like it would be likesomething that you know this is.
I feel like your music is kindof like just tailored to
something like this.
What was the you know what took, what took you so long?
Why?
Why was it now that you wantedto do a remix album?
Because, um, you know it's.
It's incredible and, honestly,if I was, uh, someone who was
(13:42):
capable of, uh, you know,remixing your music, I would be
frothing to try to get a hold ofa Chelsea Wolfe track.
So what was the kind of ideabehind the remixes and why does
it make sense for you to do itnow?
Speaker 2 (13:58):
I think the nature of this album and all the
different textures and andsounds on it, they just kind of
lend themselves to that.
And it was kind of just likethis simultaneous thing where,
like me, my record label, mymanagement like all kind of had
the same idea of like let's,let's do a remix album for this
one, and it just kind of seemslike it was meant to happen for
(14:21):
this record.
I don't really know why Ihaven't done it before.
I mean, maybe it was like thepeople I was working with before
weren't really interested in alot of like outside connections
or something, but um, but yeah,now I'm like I'm super
interested in like hearing howother people translate my music
and things like that.
So it was a really fun project.
Speaker 1 (14:40):
Awesome and kind of getting into who you chose to do
these remixes.
I'm not going to pretend likeI'm a remix expert here.
Bronx has had one song remixed.
We had one done by Jason Hillof Louis XIV for the Snakes on a
Plane soundtrack.
But you, these are sick.
(15:04):
My favorite is the Ash KushaDusk remix because it's just,
it's insane, like it's so goodand you know what was your
process going into selecting theartists who were going to remix
your work and you know kind ofhow nerve wracking was it
waiting for those files to comeback and like fingers crossed
(15:25):
that it's going to kick ass, youknow.
Speaker 2 (15:27):
Yeah, you know I had a good feeling that I would love
all of them and I totally did.
Yeah, ash Kusha is a reallytalented artist.
He reached out to me a fewyears ago about singing on a
song of his and, and I did thatand then had heard a few of his
other remixes and kind of justsort of had him in mind for if I
ever got to do something likethis.
I also really love the way hetook that remix and made it a
(15:49):
lot, made that song a lot morelike dramatic and melancholy.
Um, and yeah, I mean it waskind of like a group effort like
I definitely had some people inmind.
Like full of hell was top of mylist.
You know, I'm such a fan ofthem and thought it would just
be so cool to have like a metalband remix a song, you know, um.
(16:09):
And when I got that one back itwas like I was just so excited,
like I just felt like this iswhat a remix should be.
You know what I mean?
Yeah, I mean Crosses.
I love their music.
Obviously, I love Chino's voice, so it was such a special extra
thing to have him add hisvocals on there.
I was really, really honoredand grateful for that.
(16:30):
That was so cool.
Yeah, I mean I feel likethey're all kind of obvious
picks, justin.
Speaker 1 (16:35):
Broderick and Boy Harsher.
The Boy Harsher remix isfucking great.
It's really really good.
I dig that one as well.
I like them all.
Yeah, really really cool.
Incorporate, you know, any ofthe kind of remix, you know mojo
(16:59):
, into some of these songs asyou perform them live.
Or is this just a just an EP,just just to listen to?
Uh, just kind of something coolto put out.
Speaker 2 (17:05):
Man, I mean I wish I was that cool, but I haven't
even thought about that.
So I don't think that I'll belike incorporating the remix
versions in a live setting, butthat would be cool.
I mean, maybe, mean, maybe,maybe someday you never know
like if I tour with full of hellwe could sort of come together
and do that or something yeah,that would be sick.
Speaker 1 (17:22):
That would be sick.
I saw your.
I was just looking at, uh, someof your tour dates.
I know you're going over to theuk uh soon.
And then I was looking at yourchristmas.
You're doing two nights at thechurch in philly.
That's's going to be awesome.
Speaker 2 (17:34):
Yeah, actually just one.
We're just doing two different.
First, unitarian churches.
One of them's in New York,which I don't think.
It seems like it's not as wellknown.
But yeah, we're doing a littleDecember tour.
It's going to be prettystripped down and I'm excited
about that one.
But just announced that today.
Speaker 1 (17:52):
Awesome.
Yeah, it's going to be sick.
Everyone be sure.
Go get your tickets for that,for those December shows as well
as the UK shows.
You know kind of diving intosongwriting a little bit here.
What is?
I'm curious about yoursongwriting process, you know,
because there's people whoapproach it like a discipline,
who you know they wake up everyday and they kind of clock in
(18:14):
and they try to create something, you know, and whether it's
good, whether it's bad, isn'treally the point, it's just
about continuing the creativeprocess.
And then there's other artistswho just kind of wait for the
moment, you know, wait for anidea, wait for inspiration, wait
for a lyric, wait for a melody,wait for inspiration, wait for
a lyric, wait for a melody.
(18:34):
And then they kind of, you know, chip away at a song over time
or maybe it comes togetherquickly.
You know every song's different.
But where do you kind of lean,you know, in the songwriting
process?
Like, are you more, you know,the kind of disciplined, wake up
every day, think about music,or are you just kind of at this
(18:55):
point, hey, when I get an idea,I know it's going to be cool and
I'm going to chase it down therabbit hole?
Speaker 2 (18:58):
I think a little bit of both.
When I'm sort of in the midstof like, okay, I've got this
batch of songs and I want it tobecome an album, I will sort of
get more regimented about it.
And like I kind of enjoy thoseperiods of time where I'm, like,
you know, waking up in themorning and I have like a sort
of set writing schedule.
I enjoy that.
But then, once an album isfinished, it's like there's sort
of this lost period whereyou're just like, okay, what's
(19:20):
next?
And usually kind of dive intothe rehearsal aspect.
So you're not, you know,obviously not writing as much,
You're just sort of like gettingthese songs ingrained into you.
And but in between that, yeah, Imean, I think I used to be much
more of like a you know waitingfor like bursts of information
or inspiration kind of person.
Yeah, these days, like I justsort of I keep track of ideas as
(19:40):
they come, Like I just kind ofalways had like a simple
recording set up ready.
So if I have ideas, I can just,you know, even if it's like 20
seconds long, I can just recordit, and then I try to stay
really organized.
It's like been, one benefit ofgetting sober is like my ideas
aren't just like total messeverywhere.
Now they're just.
They're like a lot moreorganized.
So that's been helpful.
Speaker 1 (20:01):
They're no longer lyrics on bar napkins yeah,
exactly Like 25 folders on mydesktop.
Speaker 2 (20:08):
Yeah, so that's.
That's been cool, but yeah.
Speaker 1 (20:11):
Awesome what?
Yeah, it's interesting toobecause I think you, like you're
saying a a mix of both isprobably the best way, because I
think if you sit around waitingfor inspiration quote unquote I
think you waste a lot of timeand sometimes if you get up and
you step to the piano or youpull out your laptop and start
(20:32):
writing, you can kind of sparkyour own fire.
You know what I mean.
So I think it's key to kind ofhave both aspects of that.
It always kind of trips me out,though, when people are super,
super regimented and it's likelegit, like nine to five, you
know, like it's kind of.
It's just that I don't know ifI could ever really be like that
, but I like to have you know.
(20:54):
I like you know it's nice to bea musician and an artist and
you kind of get to live life alittle bit differently.
So I don't like snapping into agrid too much.
Speaker 2 (21:04):
Yeah, exactly, I can only snap into grids for like
short periods of time and theneither like I travel for a while
and it gets all messed up, or Ijust kind of like feel like I
need to bust out of that orsomething.
Speaker 1 (21:15):
Yeah, yeah, what about when?
Whether you're writing a songor whether you're listening to a
song, what are, like, thecomponents that stick out, like
what makes a good song to you?
Speaker 2 (21:25):
That's such a big question.
I tend to like think in albumswhich I'm trying to get away
from because I sort of love thefeeling of like when themes
start to sort of like rise upand you see them in different
songs that you're writing, andthen I kind of love like
thinking about how they're allgoing to work together.
But I think that maybesometimes that can be in like
(21:45):
the detriment to each songthemselves.
You know, cause I'm not lookingat as closely at each song or
something.
But yeah, these these days I'mdefinitely like focusing more on
one song at a time and like Iwant to get better as a
songwriter.
Like you know, I think I havelike a cool body of work, but I
don't think I'm, like you know,the world's best songwriter or
something.
So I feel like I have a lot ofroom to grow in that area, which
(22:08):
is actually kind of exciting tofeel like that as like a 40
year old person in this world.
You know, I feel like Iactually still have like a lot
of room to grow and a lot ofthings to learn and experience
as a writer and as a creator.
So, yeah, these days I'm I'mjust trying to expand more
beyond, like, yeah, thinking oflike a group of songs and just
(22:29):
thinking of a song as its itsown thing, and like how can I
put as much like love and energyinto that?
And I don't know.
Sometimes I think that takingaway elements of the song can
make it a lot better as well,you know.
So sometimes I hear thingsabout my past songs where I feel
like I would take a lot awayand sort of let the best
(22:50):
elements of it shine.
So I'm not really answeringyour question, but I'm just, uh,
rambling about.
Speaker 1 (22:58):
No, you're good, You're good.
Josh Homme, from Queen to theStone Age, told me once he said
hey.
He said just remember that youknow it doesn't matter what
question they ask, it's only.
What only matters is the answeryou give.
He's like you can give anyanswer you want.
I love.
Speaker 2 (23:15):
That it's true, it's true, it is.
Speaker 1 (23:18):
What about when it comes to lyrics or melody?
What do you think is moreimportant?
Speaker 2 (23:26):
That's a good question.
I mean it's interesting becausesome of my favorite music is in
languages that I don't speak.
A band I talk about all thetime is Warduna, a Norwegian
band, and their melodies sort ofspeak for themselves, even
though the lyrics are amazing,because I've seen English
translations of them.
So I don't know, maybe it'slike in that sense melody is so
(23:47):
important because it's like it'scarries, like the whole feel of
you know, the energy of what,of what you are saying.
But I do love lyrics and youknow that's kind of like my
favorite part of writingpersonally is is really like
digging into the lyrics and, youknow, really trying to say what
I want to say in like aninteresting way and not just
like too straightforward and nottoo cryptic, you know lyrics
(24:19):
are concerned, Like, are yousomeone who's kind of you know
you have like a notebook,whether it's in your phone or,
you know, your laptop or writingor whatever, that you just kind
of keep ideas, you know, kindof stacked a little bit?
Speaker 1 (24:28):
Or is it just, you know, when it's time to write an
album or you feel inspired byplaying the guitar, that you sit
down and you'll start to, likeyou know, write lyrics to a
melody or something?
Do you write lyrics likeoutside of sitting down to write
music?
Speaker 2 (24:43):
Yeah, I keep lyrics, you know, all the time I've been
always writing.
The cool thing I've been findinglately is that, you know, I've
been putting, like I said, moreeffort and energy into
songwriting and I found that,like songwriting like begets
more songwriting and like it'sbeen kind of this like yeah, I
mean it's obvious maybe, butit's kind of this unexpected
(25:03):
thing where, like I've, you know, wrote this really specific
song about a really specificsubject that was kind of in this
, like upbeat, I don't know,kind of rock vibe, and then the
next day I just suddenly hadthis inspiration and went
outside and wrote almost anentire folk song out of nowhere,
like lyrics that I didn't haveplanned or anything like that.
(25:23):
So I do think that just likethe practice of taking action on
songwriting is just yeah, likecreating this sort of ripple
effect of more songs coming thatare just kind of like I don't
know, stored somewhere within mewhere it's like not in one of
my notebooks, are just kind oflike I don't know stored
somewhere within me where it'slike not in one of my notebooks.
Speaker 1 (25:40):
Yeah, that's really cool and it's like it's nice to
have, you know, the idea of,like you know, you know you
wrote a cool lyric here andhopefully you can put it in a
song somewhere.
Or when you do have music, youknow, you know you've got some
ideas.
But you know, sometimes justgoing back into the, into what
you've already written, it canbe kind of I don't know.
(26:01):
It can almost feel like you'retrying to pull from something
and it can almost fuck with yourlike present tense, creative
energy, I feel like, and so it'scool that it's.
It's always such a good feelingwhen you know you're this far
along in your in your career andyou still have songs and ideas
like falling out of you.
You know that's like the bestfeeling.
(26:21):
It's like yes, Totally.
Speaker 2 (26:24):
Yeah, no, it's kind of been fun, like, I think when
I was younger I wrote a lot morein that sense of like, where I
would just I would read a bookthat I really loved and
instantly write a song about itor something, and I found that
what I'm kind of coming back tois like I really work well with
like a writing prompt, as sillyas that sounds Like.
If, if I'm given a sort of likeassignment or if I give myself
(26:47):
a sort of like okay, I'm goingto write about this subject,
which is like, I think,something that a lot of people
do.
I just didn't really realize it?
Speaker 1 (26:53):
I don't know.
Speaker 2 (26:53):
I'm too much of a loner.
I need to spend more time with,like other creative people so I
can learn these things sooner.
But yeah, I love.
I love having like a sort ofprompt to write about.
It just obviously sparks a lotof creativity and it's a lot of
fun to work that way yeah, it'scool and you know it's funny.
Speaker 1 (27:11):
you just said, like you know, about being a loner
and working with other artistsand stuff like that.
It just kind of it sparked athought of me because I always
think how cool it is that youknow, everyone's kind of
creative journey is different.
And for me, just for reference,in like our band, when we first
(27:31):
started, our guitar player,joby, you know he wrote most of
the songs, like as far as musicyou know is, he would come up
with an idea and I would come upwith lyrics and melody and we
would basically write the song,present it to the band and we'd
build it from there.
And after being a band for solong, you start to see different
(27:52):
members kind of step into theirown power as far as writing
songs and discovering who theyare kind of, as they get more
and more involved in theirinstrument and music.
And I always just think thatit's really cool, that like sure
you could have, you know, grownup writing and recording with
all these other people andlearning all these lessons right
(28:12):
away.
But it's like your path is yourpath, you know, and it's like
everything makes sense.
It's like like now for us as aband.
The fact that we have our bassplayer, brad, and our other
guitar player, ken, steppinginto their songwriting years, it
makes the band's evolution justnatural and it's like that's
(28:32):
how you just evolve and changeas artists and band.
And so it's cool that you're onyour path and it's awesome.
It's like you're discoveringstuff when you discover it.
I think that adds to the factof you still feeling like your
best music is ahead of you,because if you blow it all out
in your younger years orwhatever, I think that's a
(28:55):
mistake.
It's cool to evolve as lifehappens as an artist and you
know it's it's.
It's rad that you're kind of onyour own path.
You know I've alwaysappreciated that about you.
Speaker 2 (29:10):
Yeah, that's so true.
Yeah, I think also like andunfortunate things.
Like when I was first kind ofcoming up as a musician, there
was a pretty different energy inthe industry where, like women
artists were kind of gettinglike pitted against each other,
where, like it almost felt likeyou really wanted to
differentiate yourself fromother artists, instead of there
being this sort of communitywhere you were getting inspired
(29:32):
by each other and sort ofplaying off of each other, which
I think is really natural inmusic scenes in different eras.
Yeah, no, I'm like I'm moreinterested in like in community
and being in collaboration withother people and being inspired
by other artists and it's.
It's a nice feeling actually.
Yeah, like, actually when I wason tour in Europe, I had a day
off in Paris the day that EthelKane was playing and I went to
(29:54):
see her play and just her, herstage presence and like her,
like just the beautiful, likemelodies of her songs and how it
was like catchy but still kindof like strange and moody was,
was really inspiring to me andlike I felt like the next night
when I was on stage in Paris,like I kind of was like
channeling that a little bit and, you know, channeling, like her
, her comfortability on stageand stuff, and I was like it's
(30:15):
so nice to be able to feel likewe can, you know, be, be
inspired by each other asartists, and it's not this thing
where it's like a competitionanymore, you know.
Speaker 1 (30:23):
Yeah, that's awesome, that's really cool.
You know, kind of speaking onthe collaborative tip here, you
know you've always gotten a lotof love from the punk and
hardcore community.
You know I think that has a lotto do with your.
You know you got like a rawspirit.
You know you got like a rawspirit.
You know you just got that vibeabout you.
You understand and appreciatethe music as well, of course.
(30:44):
But in 2021, you kind ofcemented your place in the
hearts of hardcore music loverswhen you got together with
Converge for Blood Moon.
We got a lot of questions aboutthis, you know.
So people just kind of wantedto know how that record kind of
came about, how thecollaboration come about.
Uh, you know, songs like lordof the liars are so sick and
(31:07):
that record is just awesome.
So, you know, kind of walk usthrough the process of how that
all happened yeah, I mean it'slike an idea.
Speaker 2 (31:15):
I think that started maybe in 2015.
My band was rolling throughSalem on like a day off before
Boston and my bandmate, benChisholm and Kurt Blue met up
and I think that's kind of likewhen the idea started of like
taking some Converge songs andsort of bringing them to a
different place and, you know,collaborating in that way, and
(31:36):
so we did some shows eventuallythat were like just Converge
songs, where Ben had sort ofknow done some different
instrumentation and I wassinging on some of them and then
eventually decided to actuallywrite some original songs
together.
And once again, it was likeduring the pandemic, so there
was a lot of like sending stuffback and forth.
I actually had us do this sortof like ritual where we like
(31:58):
chose a time and day.
I had us do this sort of likeritual where we like chose a
time and day and I asked ifeveryone would like sit down and
close their eyes and like tryto imagine all of us together so
that we could sort of likeunify our energies.
And that was really fun.
This was the conversion projectwas like the perfect thing for
me, as I was like first gettingsober because I think I really
needed something to like channelI don't know all this like
(32:20):
weird newfound energy anddiscomfort that I was feeling
into.
So that was actually like aperiod of time where I was
really more regimented and I waslike getting up and just
sitting down and working onthese songs and once again, like
once we were finally able toget together in a studio and the
Crate studio in Salem it waslike just I don't know so joyous
(32:40):
and celebratory and fun just tobe in the same room finally and
get to sort of put thefinishing touches on these songs
.
And yeah, it was just such afun project.
I feel like it stretched mevocally in different ways and
really great, awesome.
Speaker 1 (32:55):
Let's hit some questions from the internet here
.
Okay, I don't want to take uptoo much more of your time.
You know, chelsea, this hasbeen awesome and I'm going to go
ahead and apologize in advancefor some of these.
Okay, because it's the Internet.
The Internet is the Internet.
Speaker 2 (33:11):
I love that thing.
Speaker 1 (33:11):
The first one here is Chelsea.
You are playing my Hometown onHalloween.
Speaker 2 (33:32):
Do you celebrate Halloween and, if so, what has
been your greatest costume?
Costumes where it was like halfcheerleader, half dead
cheerleader, like anything thatI would dress up as half of me
was dead.
So it's kind of strange, but Ifeel like it's kind of like my
personality in a nutshell I likethat.
Speaker 1 (33:46):
That's, uh, that's, that's pretty cool.
Uh, let's see chelsea.
Recently, hollywood remixed oneof my favorite movies, the crow
, and they butchered it.
Are you a fan of film and isHollywood running out of ideas?
Speaker 2 (34:03):
Yeah, I love films, love movies.
I don't know, I mean I thinkremakes can be fun.
I know people love to hate ifthey're like a really big fan of
the original, but like I find Ican enjoy them in like the
context of being somethingdifferent.
I haven't seen the Crow yet,but I mean the cast is amazing,
so I'm sure it'll be at leastcool in that sense.
But I don't know, like whenthey redid um, I like did like a
(34:26):
sequel to the craft.
I thought that was stillenjoyable to watch, even though
it was like such a differentthing, and obviously I love the
original.
But I don't know.
I think that there's probably alot of great ideas floating
around in hollywood that justaren't getting made because
there's probably not a lot ofmoney from the people on top
that are investing in likeoriginal ideas and they just
want what sells.
Speaker 1 (34:47):
Yeah, that's a good point.
I think that's it too.
Let's see here.
Chelsea, what advice would youhave for the next generation of
artists?
Speaker 2 (34:57):
I would say try to figure out what it is that makes
you weird or different and,instead of fighting against that
, try to embrace it.
I definitely spent a lot ofyears like maybe fighting
against like my natural way ofwanting to present myself,
because there was like othervoices in my head telling me
that I, like needed to present,you know, in a nicer way or
prettier way or something likethat.
(35:18):
So just just go with like whatyou truly want to do, Like even
if it seems weird or ugly or notlike palatable to society as a
whole, like I think that'susually your, your strength and
not your weakness.
Speaker 1 (35:31):
Awesome, that's really cool.
Um, okay, we got, uh, a littlelove hate here.
Speaker 2 (35:38):
Um a little love hate here.
Um, what do you love aboutbeing a musician?
I love singing.
I love the feeling of whenyou've written a song that you
feel really good about.
I love that it's constantlyabout like overcoming challenges
and personal limitations andself-doubt, because I'm not the
type of performer personallythat is like wants to just jump
(36:00):
up in front of anyone or like beon camera or be on stage, so
like having having to overcomethat feeling is like it does
feel good afterwards when I'mlike okay, I like I did that,
even though it was really hardfor me, you know.
Speaker 1 (36:13):
Hell yeah, that's awesome.
Uh, what about?
What do you hate about being amusician?
Speaker 2 (36:18):
It's a little tough right now because everything you
know like there's obviouslylike inflation for everyone and
that includes the music industryand like touring right now is
really expensive and it's hardto like actually make money from
doing nearly anything.
So it's like that's not that.
That's like why I do it.
It is my job and I do need tolike make a living to keep doing
what I'm doing.
(36:38):
So it's just a little bit morechallenging now, I don't know,
but other than that, it's likewhy I do it.
It is my job and I do need tolike make a living to keep doing
what I'm doing.
So it's just a little bit morechallenging now, I don't know,
but other than that, it's likeobviously this is what I meant
to do and like what I love to do, so I feel super grateful to
get to do it at all.
Speaker 1 (36:49):
That's awesome.
That's awesome.
A couple pickums here.
We're just going to name acouple artists.
Tell me which one you likebetter.
Let's start with uh, nick caveor trent resner I mean, they're
both incredible.
Speaker 2 (37:02):
I think I would say for me personally uh, nick cave
nice.
Speaker 1 (37:07):
What about uh salvador dolly or pablo picasso?
Speaker 2 (37:11):
dolly oh nice, uh, patty smith or stevie nicks I
just realized I have like apablo picasso tattoo, so maybe I
changed.
Did you just say Patti Smith orStevie Nicks?
Speaker 1 (37:23):
Yeah.
Speaker 2 (37:23):
You just said oh my God, you're killing me.
Equal.
I can't pick.
They're two of my favoriteartists.
Speaker 1 (37:31):
What about Danzig?
Or the Misfits?
Speaker 2 (37:35):
Misfits.
Speaker 1 (37:36):
Yeah, I think so.
I think so.
Johnny Cash or Townes, vanZandt Townes.
Okay, cool, only got a couplemore questions here.
You're crushing it.
Appreciate your time, chelsea.
A hypothetical here Timemachine.
Okay, I'm sorry to do this toyou, but I'm bringing the time
machine out Anywhere in history,any time in history history.
(38:00):
Where are you going to go firstand why?
Speaker 2 (38:02):
does that include the future?
I don't know.
I guess history is not thefuture.
Um yeah anywhere, anytime, youcan go to the future I mean,
does it have to be music relatedor just general?
Speaker 1 (38:15):
no, there's no rules to this question.
No rules.
Speaker 2 (38:19):
Well, I'm a total sucker for, like period piece
films, like I'm such a Pride andPrejudice girly.
So you know, I would love to goback to like an era where you
could go buy a dress that is,like you know, so well made and
fits you perfectly and go.
You know, they tailor it to youand it just has these big puffy
sleeves and everything.
I don't know.
That could be fun to go back tolike, I don't know, the
(38:42):
Victorian era or something likethat, and just go shopping for a
day?
Speaker 1 (38:44):
Hell yeah, all right.
Last question here it's alittle bit of a doozy, but I'm
going to ask it anyway.
So what to you, chelsea Wolf,is the meaning of life?
Speaker 2 (38:55):
I mean, I think it's a lot more simple than we make
it.
You know, obviously capitalismhas like ruined the meaning of
life because we're all just likegrinding ourselves to the bone
instead of just living, justliving simply and living slowly
and, you know, loving each otherand spending time together and
(39:28):
working together to createcommunity, instead of, like I
don't know again, like kind ofbeing pitted against each other
to try to like rise to the topof some mythical bullshit.
Speaker 1 (39:35):
Yeah, that's what I'm talking about, Chelsea Awesome,
you know.
Thank you so much for your timehere on the Sailor Jerry
podcast.
It's been really, really cooltalking to you.
The Undone EP is out now.
Everyone go check that shit out, make sure, and go see Chelsea
on the road.
You know, thank you so much fortaking the time today and, you
(39:58):
know, hopefully our paths willcross in real life here shortly.
Speaker 2 (40:03):
Yeah, totally.
Thank you so much for having me.
This was fun.
I appreciate it.
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