Despite hailing from the sun drenched Californian coastline, Chelsea Wolfe bucks the trend of hazy surf pop set by bands like Best Coast and Haim, opting instead to channel the soul of the states darker more sinister side. Speaking about her latest record, Wolfe noted that Unknown Rooms: A Collection Of Acoustic Songs is a collection of 'once-orphaned songs', time to put the surf boards down and head back to reality.

Why Warpaint haven't thought of covering Leonard Cohen before is astounding. Oh wait, they haven't... but if they did then it would most certainly echo and ooze with as much romanticism as opener 'Flatlands'. The tortured string section seems at times in danger of crossing into the dangerous Lana Del Rey territory, but thankfully stays on the right side of faded Hollywood glamour.

If only I could say the same thing for 'The Way We Used To' which opens with faux groaning that even Ms Del Rey would cringe slightly at, but the introduction of Wolfe's voice which has now taken on the dulcet tones of Channi from Poliça. 'Spinning Centres' is the sonic embodiment of those snowy winter days spent sleeping in front of fires in country cottages, the lyrics may be unclear but they needn't be as the sound of Wolfe's guitar chord changes stand for more than words ever could.

'Appalachia' showcases the 'doom-gloom folk' label that has been applied to Wolfe's music over the years. Deep drums and swirling strings construct a slightly medieval tinged atmosphere. It's unlikely that 'I Died With You' is going to be the cheeriest thing you've heard this year, nor will it be the longest because at 32 seconds it's only going to be the shortest Kate Bush impression the world has ever seen. There's no doubt that Unknown Rooms... is anything but a break up record and so it's unsurprising to find that 'Boyfriend' is a discordant; and at some times, grating ode to a doomed admirer.

The more Unknown Rooms... progresses, the harder the lyrics become to decipher, 'Our Work Was Good' needs something more than just a white diaphanous gown coated vocal. It's so almost brilliant that it's frustrating to hear it fall short at the crucial moment, the song craves a mighty crescendo but it never arrives. 'Hyper Oz' is far from an anthem for barbecue fuelled Australians; instead it's closer to the backing music one would expect in a Lord Of The Rings funeral. The discordance makes an unwelcome return on closer 'Sunstorm' but at least the lyrics are more clear; guess we really can't have our cake and eat it.

Unknown Rooms... is quite up and down as the quality somewhat dips towards the closing tracks. Combining some of the positive nuances of Warpaint, Poliça and Kate Bush show that Wolfe is incredibly versatile as a singer songwriter who could wander off into a number of musical territories but the fact that she hasn't exercises great restraint and self control and a desire to maintain a high level of artistic integrity that many seem to sacrifice these days in exchange for more commercial success.