Widowspeak
What's it about?
SUPPORT: JOHN ANDREWS & THE YAWNS (US) An album called "Roses" would deal with romantic gestures. The ten songs that make up Widowspeak's seventh and latest album capture intimate spaces and phases of love through a nostalgic, Vaseline-coated lens. Candles burn in red glass as lovers huddle together in a leather nook. Celebrity portraits look down from a restaurant like angels. Elsewhere, cloves are pressed into a black book, and dancers draw close to each other. Widowspeak is a band that hints at big feelings without seeming too serious. The sweetness, even the silliness, of an extended limerent phase that becomes as engrossing as a pulp novel. Cars and their drivers serve as metaphors to talk about co-dependence. And old love is worn in, soft as an old T-shirt. When music can be both naturalistic and noir, saturated and lush, that is Widowspeak. A band that knows how to set a scene. These songs use intimate moments to speak about deeper heartache: the restlessness inherent in modern existence, waiting for something to happen, or the feeling of being out of place in one's own life role. "Roses" is perhaps the most romantic Widowspeak album, but also the most realistic: the stage is not set with dramatic gestures, but through the background of small details and repetitions of everyday actions. Small observations before, during, and after work: the ritual of pouring water for guests, catching a cold on a day off. Daydreams of winning the lottery — or perhaps the realization that you've already won it. Here, love is a way to talk about what drives us, and Widowspeak hints that it can be the true meaning. The light that illuminates the dark corners of a day, a life. A reason to keep going despite the pain it can cause. As the title track says: not all thorns prick you, you always feel the first. And now you no longer pick roses because the one still hurts… I want to be the one. Widowspeak is one of the most productive and hardworking bands ever, always simmering just beneath the surface. Molly Hamilton and Robert Earl Thomas are the core of the group and their songwriters — they have refined their sound over sixteen years and an impressively consistent body of work. Much has happened in this time: for them, for everyone. As one of many bands that emerged from a fertile music scene in New York City, they started by hauling their equipment between now-closed venues (Glasslands, Cake Shop, 285 Kent, Death By Audio, to name a few) and their rehearsal space in the Monster Island Basement (now a Trader Joe’s). The highs and lows of a long career mean chaotic phases as road dogs across North America, flown-in gigs in São Paulo or Guadalajara, seven-week European tours… and then years of quiet in between, contemplating how powerful it is to slowly build a body of work. Widowspeak is now a married couple with day jobs outside the band season. Robert is a carpenter, Molly a waitress. Perhaps time has given them the ability to grow slowly; "Roses" is unrestrained and, for that reason, more beautiful — a little wild, as it extends its new growth in all directions. Already in the first chords of "The Hook," you can hear how far they have come: the road is open, the sky clears. The band sounds relaxed and takes its time. The album was recorded last January at the Old Carpet Factory on the Greek island Hydra — a studio in an old house nestled into the steep hills of the village. In winter, it is quiet there when all the tourists are back home.
Where?
Salzburg Rockhouse
Schallmooser Hauptstrasse 46
Source: Eventim
Also listed on: feratel-deskline
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