ALBUM REVIEW: Widowspeak / All Yours

Brooklyn duo Widowspeak has shown us some great music with influences from both dream pop and folk that made one of the most perfect combinations of sound. Members Molly Hamilton and Robert Thomas had created a beautiful aesthetic and with the release of new and extremely promising singles, they showed us how that they’ve kept that sound and matured upon it. We were super excited for Widowspeak’s third LP and they didn’t disappoint when it came to it.

Image via Captured Tracks

The album starts with the title track of the album “All Yours”, which was also released as a single earlier this summer. The song opens up with a slow drum beat that is soon accompanied by some beautiful guitars. As the song progresses, we get familiarized with Hamilton’s vocals and how the album is going to sound. The chorus is a powerful yet extremely mellow moment in the song that also will stick in your head for hours after the album has left your speakers.

“All Yours” transitions perfectly into the next track, titled “Narrows”. This song starts with a thumping bassline with some great guitar along with it. The song is incredibly diverse between the verse and the chorus as they feel like two entirely different entities from each other. “Narrows” isn’t one of the strongest songs on the album but it definitely is still a great song that compliments the rest of the album well and fits in with it.

The third track on the album is “Dead Love (So Still)”, which was the beautiful single that made me fall in love with the band at the first listen. The song keeps an upbeat sound while perusing the topics of unrequited love in a way that feels like the perfect combination of opposites. As Hamilton sings the refrain of “Dead love is so still” is reverberates emotionally and musically. This song is definitely one of the best songs on the album and is a great song with and without the context of the album.

The next song on the track is titled “Stoned” and its starts out acoustic and somewhat reminiscent of American Weekend era Waxahatchee but soon transforms into something bigger and more open during the chorus. The way the chorus is sung on the song feels urgent yet calm and is truly beautiful. The song seems to go by quicker that it’s little over three minute run but it’s a great three minutes. Personally, this is one of my favorite songs on the album because of its simplicity but also by its complexity within that simplicity.

The fifth track was also released as a single earlier in the year and is titled “Girls”. This is actually the albums longest song as it clocks in at a little over the six minute mark but all not a second will be wasted listening to the song. The song is easy to get caught up in and will keep you attentive to it for its entire run. The song is almost ethereal as it’s a song that is so smooth that you’ll find yourself spacing out with the music at some points in the song.

“Borrowed World” is the next song on the album as we start on the latter half of it. This track is a contrast from the rest of the album as we have who we assume to be the other half of the duo, Robert Thomas, on vocals for this round. It’s a refreshing track that gives you a nice break from the usual Widowspeak sound, not that we needed a break.  This song isn’t one of my favorite on the album but I do love the lyrics on it and it’s still a pretty good track. It does feel a bit out of context from the rest of the album and it’s not because of Thomas but because of the instrumentation on this track seems a bit alien from the rest of the album.

The next track is “Cosmically Aligned” which is a beautiful track that is personal yet easily relatable to. The lyrics reflect back on how quickly you can stop knowing someone anymore. The chorus is catchy and contains so beautiful vocals from Molly Hamilton. A nice little guitar solo comes on around the 2:40 mark and doesn’t disrupt the song whatsoever but rather makes for one of the best guitar parts on the entire album. At the last of the song, we get a beautiful return to the opening lines of the song and it concludes the song extremely well.

The eighth track on the album is titled “My Baby’s Gonna Carry On” which starts out with another great bassline and later is accompanied by some acoustic guitar and piano. Hamilton’s vocals are ethereal on this track, as per usual. The song is upbeat and filled with poppy guitar riffs. The chorus is a beautiful moment as a chorus of vocals sing. A distorted guitar riff comes with a surprise within the song and this is a great addition that doesn’t detract from the acoustic sound Widowspeak has established but rather enhances on other aesthetics in the sound.

The next track we’re presented with as we reach the end of the album is “Coke Bottle Green”. Which is one of the most relaxed and calm songs on the album. This is one of my personal favorites on the album, mostly due to the beautiful guitar melodies that really make the song special. Powerful lyrics such as “I won’t see what I don’t wanna see” make this song lyrically great. Without the context of the album, this track would still stand extremely strong, no matter what it’s among.

The final track on the album is titled “Hands”, which is a gorgeous conclusion to the album. For the last time on the album, we’re greeted with more beautiful vocals and guitar accompanied by some great strings later in the song. The song really brings the album to a great conclusion; it brings it to where we feel content over the overall product but still leaving us wanting to listen to more and more Widowspeak.

Overall, Widowspeak have really created something beautiful with their third album and we hope that you invest some time into listening to it in whole. By far one of the best albums to come out recently, Widonwspeak have outdone themselves this time without losing their characteristic sound. It’s an easy to listen to album that carries a lot of weight in the lyrical content yet the delivery keeps it light and floating.




10/2 – San Francisco, CA @ Swedish American Hall (Culture Collide Festival)

10/9 – Boston, MA @ Unitarian Universalist Church

10/10 – Kingston, NY @ O+ Positive Festival

10/11 – Toronto, ON @ Silver Dollar

10/12 – Ann Arbor, MI @ Blind Pig

10/13 – Chicago, IL @ Chop Shop

10/14 – St. Louis, MO @ Luminary Arts

10/15 – Norman, OK @ Opolis

10/16 – Dallas, TX @ Foundry

10/17 – Austin, TX @ Lamberts

10/18 – New Orleans, LA @ Gasa Gasa

10/19 – Atlanta, GA @ Drunken Unicorn

10/20 – Asheville, NC @ Mothlight

10/21 – Chapel Hill, NC @ Cat’s Cradle

10/22 – Washington, DC @ Comet Ping Pong

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