Sooner or later I’m gonna get tired
True Widow seamlessly and effortlessly bridges the genre gap in ten songs. Toss Doom metal, shoegaze, psychedelic rock, sludge, lo-fi, and sprinkle some twangy country vocals, blend it up, and you have Avvolgere. Walls and walls of sound along with hypnotic tempos and repetition, True Widow creates a tidal wave of an album.
Avvolgere is easily the heaviest and most accessible True Widow album to date. Fraught with tone worship, bass groves, and thudding drums, Avvolgere still somehow treads water. Detuned guitar hooks are still hooks. Avvolgere finds them and exploits them perfectly. Often times the bass will play a hook alone for a few measures, then the entire band will join to create an incredibly brooding atmosphere of weight. This tactic is displayed in the one-two punch of "Back Shredder" and "Theurgist" to open the album.
What makes Avvolgere so intoxicating is its ability to create a dreamy, swirling atmosphere out of so much density. The dual vocal approach of DH Phillips and Nicole Estill (male and female, respectively), cut through the black cloud of distortion sharply. Tracks like "F.W.T.S.L.T.M." use Phillips’ drawling vocals to split the thudding bass and droning guitars, and come the closest True Widow can get to a “pop-hook.” The vocals are deliberately delivered with a lethargic fashion, but only to reflect and mirror the instrumentals.
After repeated listens you get the feeling that every lazy bend, every drawl, every drawn out repetitive section that ends just short of you being tired of it, is deliberate. True Widow set out to create an atmosphere, a feeling, a mood. Avvolgere feels like a funeral dirge in a rainstorm. Avvolgere feels likes the warmth of a bed. Avvolgere feels like a cloudy dream of haze. Avvolgere feels fucking dark.
by Andy Wilcox (@wilco204)