True Widow album review – Avvolgere

Downbeat delirium from True Widow, in the far reaches of the Lone Star State

True Widow, 'Avvolgere' album cover

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Proving definitively that less is more, Texans True Widow return to shit yet more effortless cool on their fourth album.

Whilst retaining the three-piece’s signature minimalist, low-slung twang, it’s an upward shift in momentum, following on from 2013’s Circumambulation, a record to be consumed on regret-filled nights by a rain-soaked window.

This, by means of comparison, sounds almost positive, even if that’s a somewhat unsuitable word to use when talking about a band who have managed to combine the best bits of shoegaze, lo-fi indie and doom into a package with its own sombre personality. Attempts at describing the swagger of tracks like Theurgist, its reverberating rambunction paring down to a rattle of root note bass that perfectly complements guitarist D.H’s nocturnal croon, feel insufficient; it needs to be felt, as does the downbeat groove of The Trapper And The Trapped, the interchanging vocals of D.H. and the corrupted innocence of bassist Nicole Estill growing on you in increasingly exhilarating flourishes. True Widow are one of those bands so special you’ll want to keep them a secret.