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Pearce (2020) introduces Dave Hamelin as Shake's producer.  Hamelin's experience as drummer and frontman of the Stills, alongside his production of alternative music, and Shake's perception as an artist, influenced by beat boxing, creates a blend of genres that forms her unique sound. This includes influences from artists as diverse as Radiohead, Frank Ocean & Paramore.

In the making of Shake's album "You Can't Kill Me" (Shake, 2022), she says "Dave Hamelin. I would say he best understands my vision and best knows how to translate what I hear in my head more than anybody.  He's able to understand what it is that I want, and he's able to make my vision come to life in aspects that I can't".

I believe Hamelin's ability to translate Shake's vision allows Shake to draw on her varied influences, enabling a strong authenticity which is defined by its fluid ability to transcend genres.
When I reflect upon this further, I feel this relationship has a positive effect in the industry.  The importance of collaborating and it's benefits in enabling an artist to actualise their ideas eliminates creative boundaries, which I think is valuable to the evolution of music.

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According to their (2018) Billboard interview, Bianca Alysse references Kid Cudi as one of 070 Shake's biggest influences, as well as highlighting how Cudi's songs confront mental health and depression and the impact that has had on Shake's songwriting.
In the interview Shake identifies how working with Cudi allowed her to feel like she was where she's meant to be in life, and this encouraged her to use songwriting to explore and address her own mental health.

Shake reflects on this further in Pearce's (2020) article, stating “The drugs just sunk me into a deeper hole, but listening to Kid Cudi helped me get through that hole.”

I believe Cudi's influence on Shake is definitely evident in her attitude toward the message and meaning she wants/does convey in her music. She wants realness, rawness and resonance.

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In Randall's (2022) interview, Shake states “I grew up listening to a lot of Alicia Keys. I discovered her album Element of Freedom and that’s something that felt like church music to me when I listened to it.”
Randall asserts this album was the first influential piece of pop music that reminded her of the feelings related to the hymns sung at church, which, I believe then became one of Shake's main incentives in the creation and performance of her music.
Shake states “My whole message is that I want to bring people together. It’s possible to unify people and we’re more powerful that way. So if I have the ability to do that, and to influence people in a positive way, I will.”

Personally, listening to Shake's music demonstrates exactly that. The expansive sounds of harmonic melodies accompanied by layers of sustained synths,  I believe the hymns of "You can't kill me" gifts me that feeling of belonging to a community/collective or in fact church. 070 Shake is my "Alicia Keys" and I inspire to gift this feeling to others in my own music.

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Von Bader (2017) expresses his opinion on Wolfe's writing style (in particular the avoidance of the cliches of doom metal), with Wolfe's response revealing her relationship with Black Sabbath and how that influences her songwriting.

In her interview with Butterlin (2018) Wolfe shares her experience of disliking the creation of a classically structured album: "I really didn’t like how it turned out. I ended up trashing out the album and after that I started to rebel against the typical song structure for a long time".

In my reflection I feel Chelsea's rebellion against classic song structures correlates with her return back to Black Sabbath as an influence.

Listening to both Wolfe and Sabbath, I see how Sabbath's influence seeps into her music; as Wolfe states "there’s also a lot of influence from Ozzy and Black Sabbath—naturally, a lot of his influence creeps into my music" (Weiss, 2018).

Personally, I enjoy this experimental aspect of both artists and find this translates in my own work.

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Stoller interviewed Wolfe in (2015), where she extolled on her influential experience seeing Fleetwood Mac live; "their harmonies and the tension between them translated well live and really left an impression on me.”

Fleetwood Mac's influence on Wolfe started early, as stated by Wolfe in the above mentioned interview (2015):  "His (her father) country band would often cover their songs, and I can also remember watching live footage of them on TV a lot".

Later in life, Wolfe's interest in Fleetwood Mac inspired her to  explore her own vocal range and songwriting to evolve her sound. "When I got older, I started being into Lindsey Buckingham’s voice. I found that I could sing in the male range better than the female range so I started exploring that for a while" (Butterlin, 2018).

In my opinion, the similarities in tonality of Chelsea Wolfe and Lindsey Buckingham is extraordinarily expressed.

Although Wolfe's genre does not match Fleetwood Mac, the harmonic influences Chelsea has spoken about are definitely at the forefront of her vocal expression.

Wolfe's use of a lower vocal range has appealed to me and inspired/influenced my own vocal style.

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"My mom introduced me to a lot of great folk music as well, and I mostly remember Joni Mitchell... standing out to me as a young person. I’m named after a Joni Mitchell song!" (Wolfe in Denney, 2017).

Joni Mitchell has had a profound influence on Chelsea Wolfe's life/career.

In Hadusek's (2021) article, Chelsea refers to Joni as one of her main influences, and paid homage to her by covering the song Woodstock on her "Birth of Violence" tour, stating "Joni is obviously such a big inspiration to this side of my music, so it felt right to pay tribute to her.”

Reflecting on this research, I can say Joni Mitchell's influence is clearly evident in Chelsea's music, but seems intentional in a soft and subtle way. Through Chelsea's decision to entangle folk and metal, her singer-songwriter side truly shines in the prominence of Joni's influence.

This is an aspect I really love about Chelsea's composition and has inspired me to explore further into the songwriting of Joni Mitchell.

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In Bryant's (2016) interview, Rakei states that one of his biggest influences is Saul Williams, reflecting that "Saul Williams is actually a poet, but he has always been fearless with his creative choices... so it’s very inspirational to try and follow their footsteps and push my creative boundaries".

Saul William's influence on Rakei is also evident in Ortloff's (2019) interview, where he states "I love poet/rapper Saul Williams because he’s always pushing his own sound. He doesn’t care what anyone thinks and I think that’s a very courageous characteristic of his".
Jordan goes on to state that he's always closely following  Williams, ready to learn from any articles or interviews Williams is involved in.

Reflecting on this, I believe the influence of Williams fresh and carefree take on music is also reflected in Rakei's process.  Making informed choices around controlling what has an external influence enables inspiration and influence to come from within, thus actualising an original and authentic take on the indy soul genre that Rakei is categorised in.

I feel when I listen to Rakei's music I can hear the balance between internal and external inspiration working in harmony to create the graceful and meditative sounds that are Rakei's music.

To me, it's pure melodic freedom.

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In Mensah's (2016) article, Rakei shares in depth how he relates to the evolution of D'angelo's creative process, specifically how both artists used reflection as a tool to benefit their sound.  This is evident in Rakei's reflection upon his own career in comparison with D'angelo's creative practice throughout his career.

Mensah also refers to the resonance between Rakei and D'angelo's creative development, with both initially beginning as "the musician on every song".  Upon reflection, the limitations of that process became more apparent, leading to incorporating a collaborative practice to benefit the quality of the music.

I believe that the influence of D'angelo's creative development allowed Rakei to reflect on his own work and improve the quality of his music, as D'angelo did in his own career.

Upon further reflection I feel collaboration is vital for creative growth and expansion of ideas and sound, whilst also enabling more focus on expertise (in Rakei's case, his vocals).

To conclude, I believe this practice is valuable to evolve and refine the process of making music and growth as an artist.

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In Condon's (2017) article, Jordan Rakei is referred to as one of Australia's finest future-soul artists.  Rakei's ambitious music strikes "an even more impressive balance between aptitude and accessibility than ever."

An aspect of this is strongly influenced by Radiohead, with Condon using the example of his track Eye to Eye; "we get shades of dub, jazz and soul, as well as an indie bent (that bridge is so Radiohead) that will endear him to many".

This is also evident in Topping's (2015) interview, when they ask Jordan Rakei what/who has been his biggest influence, with his response being "I’d say my two big influences would be Radiohead and Saul Williams. Creative minds that are fearless and they constantly inspire me".

I believe the emotive and moody production of Rakei's music reflects how he has been inspired by Radiohead, as he states "Imitation leads to inspiration", referencing Radiohead as an influence (Topping, 2015).

To conclude, I feel the intention of this process is evident between the reflection of Radiohead and Rakei.
Through their music they become pioneers through bold and fearless choices that authenticate fresh ideas whilst also resonating with a wide audience.

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I admit.... Jordan Rakei is the unmatched sonic experience of soul!

Jordan Rakei's Jazz based Indie soul music has played a massive part in my self reflection, discovery and inquiry.
His mellifluous composition is magic to my active listening ears.

He is an extremely talented and diversely creative musician and I have always resonated with his process, methods, production, beliefs and playful exploration, creating a unique twist on contemporary Soul and jazz music.

His composing has taught me freedom in music and playfulness in genre.

I believe he is a master at creating balanced and euphonic melody within the Indie Soul genre and personally, he has guaranteed a purchase from me on every single album release.

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In my opinion, 070 Shake is a genius in her own right. As an upcoming artist, she has created her own unique world of sound to inspire and unite.

Combining intuitive work flow with a flare of Hip Hop influence, Shake has bridged cinematic production, melancholy melodies and vivid poetic lyrics. She deeply resonates with me as a creator, alongside her personality, beliefs and perceptions on life. She inspires the power of unity, depth, passion and discipline.

When ever I listen to her music it lights my creative fire to produce authentic work. Sounds that inspire connection to self and others, resonating at the soul and sacral level in which her music does for me.

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Chelsea Wolfe's beautifully haunting vocal melodies and emotional expression from the Sludge Folk Metal/Doom Gaze genre inspire, reflect and resonate with my own vocals and composition.

I feel the use of strings and her vocal technique and tonality, paired with the depth and thickness of rhythm and base, connects me to myself and my Celtic heritage.
A visceral feeling of knowing and belonging resonates with me whilst listening to Chelsea's artistry.

Personally, Chelsea Wolfe continues to inspire sonic and emotional beauty in it's rawest expression. The expression of the dark feminine.