It’s easy to let Chelsea Wolfe’s image shape your expectations of her music. The singer-songwriter embraces all that the goth lifestyle has to offer and then elevates it beyond Tumblr tags and locker decorations. The backs of her eyeballs shine bright white on the cover of 2011’s Apokalypsis, glowing next to her thick black eyeliner, painting her as a woman possessed. Wolfe covets the appeal of the otherworldly, but her music, which strikes a fine balance between gothic folk and electronic noise rock, shies away from total immersion. She veers into the shadows, making beauty from evil, but she never plunges her hands too deep into its mess. On Abyss, Wolfe finally goes knee-deep into that dark terrain, embracing metal and overpowering drones that, unsurprisingly, click right into place.