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Pretty Sick Finds Their Sweet Spot
Porches— What’s up Sab?
Sabrina Fuentes— Hi, how you doing?
I'm good. You're in London right now?
Yeah, I'm in London right now. I'm at a recording studio with my friend Jacob Budge doing a session and hanging out, and I'm going to go out to carnival parties tonight. What are you doing?
That sounds banging. I'm just home doing this call with you and then I'm going to go to the studio and work on some stuff today. How long have you been in London?
Been in London for about a week now, but I was in Berlin right before. I was staying with my friend, I'd never been there.
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That's cool. I was thinking about the last time I saw you, you came by the studio and you had just been in Mikey’s studio and wrote 50 songs or something like that, right?
Yeah, I was at Mikey’s and wrote like 35 songs.
And then we made some songs. How many songs do you have now?
Yeah, I have no idea how many songs I have at this point. Not all that I've ever done. There's a lot of sketches that aren't quite finished, but definitely more than 35 at this point. I think probably closer to 40-50.
Are you working on anything specific, like the next record or just making a bunch of stuff right now?
Yeah, I'm working on the next record and also just collaborating with friends, seeing where everything takes us. I'm letting it figure itself out. We're just trying every creative avenue that we want to explore more, did some heavier rock stuff, some emo stuff, some indie stuff, some electronic stuff. We're trying to figure out what works for the next full length album, exploring all the ideas that we’ve been sitting on for a while.
I've been listening to the last EP a bunch, even more just before our chat and it's super sick. I like it more each time. It's kind of hard for artists to shift genres sometimes because it can sometimes feel like putting on a tacky outfit. There's this really strong throughline in your lyrics and in your voice that sort of stands up to a drastically different production style from the other Pretty Sick sick stuff. It got me excited to hear what you've been working on.
I feel like when you complete something, it's the most exciting time to work on new stuff because you're not stuck in one world and you can just throw a bunch of shit at the wall and just wait until something starts to feel right.
Yeah, that's exactly where we're at right now. It's nice that after releasing something, you feel like you can let that idea go and move on to exploring new things. I feel like I can put down the world that the last EP was inhabiting and see what else we can do, like you said, throwing stuff on the wall and seeing what sticks.
Did you work on music with Woesum in person or was it all virtual?
It was all in person.
In New York or somewhere else?
Here in London in a small studio with a bunch of synths and a booth where we could play any instruments we wanted to track in. We figured that we would start with the strongest ones and put that foot forward and then see what else we wanted to explore. We made those songs as soon as I finished Make Me Sick Makes Me Smile.
We were going in and out of the studio every couple of months, and it was a lot of fun since we got along really well. We did some sessions where we were bouncing off the walls full of ideas, writing four or five songs a day. It's a way of writing that I never really got to explore that much before. I would write with a band, coming up with ideas with other musicians in the room or, more often than not, write the whole thing on bass with lyrics, melody, some vague guitar and drum parts then bring it to the band to record.
It was cool working with a producer who mostly worked with rappers who show up with nothing prepared and just play off of the beats that he makes. I feel like his production style inspires so much verbally and melodically and it's such a cool way to explore songwriting. It was more fun to write songs and also a faster way for me to write songs than anything I’ve tried before. Arthur's a really sweet and nurturing producer as well, which is always great.
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Do you feel like that’s why you're doing more sessions with producers now and what not? Did it unlock some kind of collaboration thing in you?
Yeah, definitely. I mean, we've been doing sessions a couple different ways, meeting with a bunch of different producers. I think some producers really bring a lot to the table and others just bring more of you out of you. Then there's shady producers that wait for you to come up with ideas and then try to take credit for them. Up until meeting Arthur, when I would write in the room with people, that's what would end up happening more often than not and I would leave frustrated because I just did all this work not feeling like it brought out anything that I couldn't have just done on my own computer.
Working with different producers has been about seeing if there’s anybody we really click with. We’ve been doing a few sessions of the band as the band — me, Ben and Ava with no production. Now I think we’re going back to some old friends we've worked with before.
We had the guys from Nation come by and we invited Cat Power to sing on something too, bringing in people who might add a different vibe in the studio. I’ve also been in sessions with producers like Jacob, who I’m with today, that are just one-on-one. I’m also figuring out which songs from all these different sessions fit in one semi-unified world.
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Yeah, I feel like the one thing about making music with a bunch of different people and in different scenarios is that it does take a long time for the general vibe to make itself known. At first, it doesn't sound like you're setting out to achieve this thing you're imagining and then you get there. I saw you at Nublu when you played solo. What do you like about playing solo versus playing with a band?
Well it wasn’t properly solo because Ben was playing bass, but it’s definitely a new experience. I've never really played without a band before. I never even do solo acoustic shit because I don't play guitar, I play bass. I do like not having to play bass on stage, I think it’s fucking annoying and I'd rather just sing so that was really exciting and fun for me. It’s like karaoke and I can put a lot more towards performing and singing. But yeah, that was the second time we'd ever done something like that and afterwards, we missed Ava immediately. After we played we told her she needed to figure out how to play some electronic drum pages so that we could have her on stage. It’s a lot more fun when it’s all of us.
Although, it’s nice to have the option to play a full set with just backing tracks and a bass. It gives us more opportunity to play in venues that are not compatible with full bands all the time. You know what I mean? Small spaces definitely. The first time we played the set was at a show at the restaurant underneath Search and Destroy, Kenka, and it was awesome; really, really chill. It makes it so much easier to do fun, intimate gigs like that when you don't have to bring in a whole drum kit and a whole bunch of amps and a crazy system. There's a lot of freedom as to where and when we can play, on the drop of a dime.
I know the live drums not being there is sort of tragic sometimes. It sounded sick and it definitely is kind of miraculous to not have to have a guitar on your shoulder and worry about playing the right parts. I remember how I felt the first time I did it, super awkward like I was at a high school dance or something. I didn't know what to do with my body or my arms or whatever. And then I feel like slowly I started to really enjoy it more than being strapped to a guitar these days.
Every once in a while there's a song that always feels good to play on your instrument while singing it, but for the most part I would rather have more space with my body and voice to give the best performance. I think that I can definitely sing better when I don't have a big heavy instrument pushing on my diaphragm. I can project and strain a lot less. I do a lot of karaoke in my free time, so I'm very comfortable with just the microphone.
You looked like a natural there for sure. Do you have any shows coming up on the books right now or are you just grinding in the studio?
Not so many shows right now, just trying to write as much as possible, taking a breather as well, just because it's been a long year. I just moved back to New York after living in London for five years, so relocating was a lot. Dealing with personal, emotional stuff and then just having released the EP, I think it's just a well-deserved break for me. Sessions like these are relaxing and I love going on tour, but it's physically draining for obvious reasons and I think for now I'm just slowing my pace a little bit. I'm from New York, where you're always trying to get things done as fast as possible, and I don't feel like doing that anymore. I want the next release to be fully thought out and complete. Not that everything else we’ve put out hasn't been. I’m not usually a perfectionist — I normally leave space for human error in projects in that way — but now I want to take my time and revisit the work until it’s exactly what I want.
What’s the song you’re writing right now?
I’m working on two. The first one is just kind of a snarky and fun song. “I know what boys like” type of thing. It’s about balling out and how it must suck to watch me ball out all the time if you're not in my life anymore. Then this next one is probably going to be a bit rockier and grunge because that seems like the direction we're headed in. So some more melancholic lyrics on that one probably, but it's going pretty good.
That's sick. It seems like you. I’m excited to hear it all. It was fun hearing, seeing you write lyrics and work. Whenever you're back, we should hit it again.
Yeah, absolutely.
Cool, cool. Does that feel like a conversation to you?
That felt conversational to me.
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Dreams, Darkness, and A24: Inside Chelsea Wolfe’s Creative World
Andy Zozulya— How did your experiences with sleep paralysis and insomnia influenced the album "Abyss"?
Chelsea Wolfe— I’ve experienced sleep paralysis since I was a small child, and the sleep and dream world have inspired me a lot over the years. For Abyss, I more intentionally channeled my experiences and perspectives from sleep paralysis, night terrors, and the inner realm into songs. On “After the Fall,” the phrase “Don’t let them win!” is something I heard in a dream when I was in my early 20’s, and as I wrote Abyss later I wondered if that was my current self sending encouragement to my past self during a tough time. A lot of the songs were based on dreams or nightmares I’d had, or recurring themes in my dream-world.
Could you share with our readers a story about Berlin and Friedrichschain in particular.
I went there at age 22 with a group of performance artists, my friend and great artist Steve Vanoni invited me along and we did a show in a creative space there. I would play a short set of songs at the end of all the performance art (sometimes joining in on the performance art as well). It was my first time in Berlin and I was just taken by how magical Friedrichschain felt to me.. I couldn’t really put my finger on what it was exactly. Maybe it was the little playgrounds - that encouragement for children to use their imaginations and play, it felt so different and nice compared to the US, where the arts aren’t really supported. So my young mind just wrote a little story about it.
What prompted you to embrace witchcraft, and how it affects your creative process?
Embracing witchcraft was like a remembering. I’ve always had witchy tendencies, and my grandmother passed down elements of witchcraft to me, but we didn’t have that name for it. Tarot was one of my first gateways into witchcraft as a personal spiritual practice, and I just kept learning from and communing with more witches and it became this really joyful, really healing thing for me. Witchcraft affects me creatively in a positive way, as I’ve learned tools like creating a container of sacred space for ritual that I can also apply to songwriting.
What is your favorite Tarot card? Do you have a favorite tarot set?
I always say The Hermit and The Star, which feel like the two contrasting sides of myself: the very introverted homebody who loves to spend time alone, writing and contemplating mysteries and magic, and the one who goes out into the world and somehow becomes comfortable sharing her music onstage with an audience (even though I know that’s far from the full meaning of either card!) I really love Kim Krans’ Archetypes oracle deck, and last year I enjoyed the Dark Wood tarot deck by Abigail Larson and Sasha Graham because it’s a shadowy deck, and I was doing a lot of shadow work. I usually stay with one deck for a long time until I feel intuitively that it’s time to move on or shift energies. In 2024 I’ve been using a more lighthearted deck because life feels heavy right now!
Embracing witchcraft was like a remembering.
Why did you move from Los Angeles to a more rural setting, and how has this affected your creativity?
I’m originally from a town called Sacramento, in Northern California. I moved to LA in my mid-twenties to get out of the small pool of my hometown, to meet new people, and pursue my music career, but ultimately after a number of years I felt the pull back toward Northern California. I don’t live in Sacramento now though, as I don’t really like being in cities and prefer to be in my small mountain town. There are times when I lament how much easier it would be to gather with other creatives if I lived in a big city though, if I’m honest. But on a personal level, I have a lot of anxiety, and I find that being in a quiet place amongst the trees when I’m not on tour helps me stay regulated.
What was your reaction to being called the "daughter of sorrow," and how you incorporated this into your identity?
My lyric/identity of “daughter of sorrow” is a bit about ancestral trauma passed down via the matriarchal line but caused by the patriarchy, but it’s also a bit playful and kind of a nod to how there was a time that my songs were considered “sad girl music” to a lot of people.
How did your childhood experiences with your father's home studio influence your musical career?
Growing up peeking into my dad’s home studio - which was really just a bedroom with some home recording gear in it by the way, nothing fancy - it made it feel normal to write and sing and be creative. At the same time though, I suppose I didn’t ever imagine that it could be a full-fledged career since my dad always had day jobs even while he was playing in a band and traveling around California to play shows. It took me until my early to mid 20’s to start playing my own shows and taking music more seriously as a pursuit.
What challenges you faced during the recording of your last album and how did you overcome them?
Well, I got sober from alcohol during the writing of the album, and it was also during the initial pandemic times, so my bandmates and I had to write from afar, and once we got into the studio together, if someone from the studio got COVID we’d all have to isolate and go home (6 hours away) and start again in a few weeks, and so on. It wasn’t an easy process in a practical sense, and also, I was changing and transforming a lot as time went on and I got into my sobriety. I was open to the demos changing from what we’d written into something new in Dave Sitek’s studio, but not everyone was open to that.. There were challenges happening at the same time within my career that gave making this record an underlying tenseness that I had to constantly be rising above as well. By the time the record was finished, I knew I needed to leave my record label and management company and sort of re-start my career, even though I didn’t have a plan in place. I was just going off of faith, and the courage that these album songs gave me. A song like “Whispers in the Echo Chamber” became a guidebook for how to cut cords and move forward in a new way.
How your collaboration with A24 came to life, most notably soundtracking the movie "X", how was the process, you worked on film scoring in the past, how was this experience different?
I had collaborated with Tyler Bates before, and he asked me to be part of the “X” soundtrack. My main job was to give vocalizations and melody to the two main characters, Maxxxine and Pearl. I learned a lot about my voice in the experimental process of doing so. I also learned a lot from working with Tyler, who’s done so many great film scores.
What's happening for Chelsea Wolfe in 2024.
It’s been a busy year! More touring than I’ve done since pre-pandemic times, remix versions of She Reaches Out coming soon, and some more new versions of the songs after that... coming back to Europe and UK in October and November.... writing new songs in the meantime, always.
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VTSS Is Forever
Hi Martyna! How are you?
I’m really good, thanks, you?
I’m good. Where are you right now?
I’m at home in Hackney, packing for my flight to NYC next week! I’ll be based there for about 3-4 months, taking advantage of that spenny artist visa I was forced to get! I’m (like everyone else, I guess) obsessed with NYC and excited to stay a bit longer this time, hang out with friends, work with people I wanted to work with but never had enough time, eat food, walk places. I’ll be playing more American shows, doing some fashion stuff. Most importantly — playing the office mag party!!!!
Did you have fun during the shoot?
Oh gosh, yeah, I did! The crew was the cutest group of people; everyone was super creative and lovely. You know you feel safe when you don’t have to ask people to leave the room when you’re changing between pics. [Laughs]
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An element of the shoot explored a feeling of entrapment. If you were trapped inside one of your own tracks, which one would it be, and what would it feel like? Would you try to escape?
I feel like I couldn’t be trapped by a specific song, but in the search for my identity within myself. Many artists feel trapped by people's expectations and perceptions of who they are, especially in between projects when they've mentally moved on and become a different person or artist after a year or two of working and having new experiences. However, to the general public, they're still seen as their previous version. As someone who has ventured quite a bit from where they started, it can be a challenging process to balance this.
There's an interesting disconnect between how the world perceives an artist or a producer as of today, with whatever is available to them to judge, like their last piece of art from 3 years ago, and how they perceive themselves based on what they know they are, what they've created since then that’s not yet out there, and what their team, friends, or collaborators think they are. I think about this a lot — whether you become the artist or even the version of yourself that you think you are when you know that’s who you are, or when you create and finalize a piece, or when the creation is public and open to public judgements and interpretations. I can’t help but wonder… This is the loop I'm stuck in. So, in simpler words: I'm working on a lot of new music, y'all!
What did you think about the fashion of it all?
Sorry, I got a bit philosophical there. I’m obsessed with Marko, the stylist; we worked together before on my “Body Mind Hell” music video 2-3 years ago. The last time we saw each other, I was hanging from a ceiling tied in red shibari.
I love a stylist who doesn’t just pull designer clothes and calls it a day. Marko styles with a capital S. Their ideas are a bit more conceptual, which we love. They use a lot of DIY, vintage elements, and layers, not worrying about the LVMH tags, but supporting plenty of small designers, fresh CSM graduates, and actually embracing London’s fashion community.
Are there any brands or designers you’re obsessed with currently?
My current favorite is probably Raga Malak, whom I wore for half of my performances last year. I have endless love for another Aussie powerhouse, Mr. Dion Lee. For jewelry, I’m obsessed with Milko Boyarov! Half of my wardrobe is Ottolinger — the brand I wear every week. And last but not least, I can’t forget about my Polish family: MISBHV!
You got into character so easily on set. Do you also put on a persona when you’re on stage?
I don’t know. Kinda. Yeah? I guess! It’s not some pre-curated persona, for sure, but you bet I don’t behave like that in my private time! I feel like the moment I even walk off stage and someone catches me for a picture, I speak with a different voice, and my body language changes. Being there channels a confidence in me that’s hidden a bit deeper and personifies some variation of myself.
Does your outfit and glam play a part in this?
It’s a tale as old as time — sexy outfits make you feel sexy!
Do you have any superstitions before a performance?
I know that if I think too much about how lit it’s going to be — it’s going to be pretty shit.
What makes you uncomfortable? When do you feel at ease?
I’m really uncomfortable when dudes touch my waist during a picture. I’m not your nan. I’m at ease when people keep their hands to themselves, or ask for permission.
Many artists feel trapped by people's expectations and perceptions of who they are, especially in between projects when they've mentally moved on and become a different person or artist after a year or two of working and having new experiences.
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Are you a Love Island girl?
Absolutely. When I moved to the UK, I binged all the old seasons, trying to learn the culture and catch up with all the accents. I even built my last serious relationship by watching Love Island together — we survived until the very next season…. However, I just finished watching the US one this year and must admit it was one of my favorite pieces of TV I’ve watched in a long time — maybe since season 3 of Real Housewives of Salt Lake City.
In your interview with 032c, you’re in New York and “trying to see if it’s the place” for you. Have you decided?
I haven’t! I still don’t know what place is for me. I’ve always been quite a nomad. I knew I wanted to leave my hometown when I was 12. But to be honest, even since then, it’s always been NYC in my head. But again, let’s not jinx it!
What do you think about the city’s music scene?
One of my favorite gigs and crowds has been here, but I’m quite spoiled as I spent my last three years in London, which is one of the most inspiring places musically. I’ve played massive shows in NYC, like the last Boiler Room at Brooklyn Mirage, which was an insane experience; the production was really impressive. But at the same time, my heart is and always will belong to the small clubs — so here I am loyally coming back to Paragon (playing b2b Hudmo) & Bossa (with one of my favorite local producer/DJs WTCHCRFT) in September!
In that interview, you also mention having ADHD. I have ADHD too. I’m curious to know how you manage it, especially while having so much going on?
Honestly, I think most people who work in creative fields are subconsciously driven to it because they have (often undiagnosed) ADHD. We’re all on the same boat. I have my ways. I keep my mind and body clean — RIP party days.
Having a routine and organizational system for everything around me is everything to me. I’ve also been DJing and touring for 10 years now so in order to keep my career and maintain my mental health, I know that I need to keep everything together.
Are you on Instagram a lot?
Oh god no, there are more cute dog videos on TikTok!
Do you follow any conspiracy theories?
Is there a question you wish you were asked more often?
"What is it like being a woman in electronic music?" JK, please don’t.
